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Symphony (Webern)

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Symphony, Op. 21
Symphony (or chamber or miniature symphony)[1] by Anton Webern
Opening with tone rows labeled by Dmitri Smirnov
Opus21[2]
Perioddie Neue Musik (20th-century music)
LanguageGerman
Composed1927–1928
DedicationWebern's youngest daughter Christine Mattl (née Webern)[3]
Duration10–15 minutes[4]
MovementsTwo (1 Mvmt. Ruhig schreitend; 2 Mvmt. Variationen: Thema, Sehr ruhig — 1 Var. lebhafter — 2 Var. sehr lebhaft — 3 Var. wieder mäßiger — 4 Var. äußert ruhig — 5 Var. sehr lebhaft — 6 Var. marschmäßig, nicht eilen — 7 Var. etwas breiter — Coda)[5]
ScoringOrchestra or chamber orchestra of 1 clarinet, 1 bass clarinet, 2 horns, 1 harp, and strings senza bassi[5]
Premiere
Date18 December 1929 (1929-12-18) (world premiere)[6]
LocationTown Hall, New York[6]
ConductorAlexander Smallens[6]
PerformersOrchestra of the League of Composers[6]

Anton Webern's Symphony, Op. 21 was his first twelve-tone orchestral work. Written between 1927 and 1928,[7] the work is noted for its formal coherence, abstraction,[8] and Alpine topics.[9] It is a two-movement chamber or miniature symphony of only 10–15 minutes. Alexander Smallens conducted the world premiere at New York's Town Hall on 18 December 1929.

Composition

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Historical background

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The years Webern wrote his symphony (1927–1928), he visited his childhood home and mountains with friends and family. In November 1927 he and Norbert Schwarzmann, a physician and patron,[10] attempted the Hochschwab starting at night, but weather turned them back. In May 1928, he and Rudolf Ploderer attempted the Schneealpe (his favorite mountain) in the snow. He revisited in July, reaching the summit with his wife Wilhelmine and their children. Then they celebrated his cousin Ernst Diez's birthday in Vordernberg and visited his sisters Maria and Rosa in Klagenfurt. He visited their former country estate, the Preglhof, and family grave sites in Schwabegg and Annabichl [de]. From the cemetery grounds he collected and kept flowers along with photos as souvenirs. In August he, his son, and Ploderer climbed the Hochschwab; they overnighted in the Schiestlhaus [de] and saw many mountain goats.[11]

With the Symphony done, Webern wrote on 6 August 1928 to his friend, the poet Hildegard Jone,[12] who he had known for two years, and with whom he looked forward to collaborating:[13]

I understand "Art" to mean ... bringing a thought into the clearest, simplest, i.e. "most comprehensible" form. ... I have never placed myself in opposition to ... masters ... I have always ... endeavored ... as they did: to represent ... [what] is given to me to say.[13]

He criticized then neoclassicism as such, which he said mimicked styles without a proper understanding. Schoenberg's, Berg's, and his music was "most primary and personal", he emphasized. "[We] fulfill [what] remains ... the same through our means", he explained. He agreed with Jone that "progress is made ... inwards."[13]

Orchestration

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Webern's symphony was part of a turn to more economic orchestration compared to his early works. Its composition coincided with his revision of Sechs Stücke for orchestra, Op. 6 (1909, arr. 1920),[a] in which he substantially reduced the wind instrument section, hoping for performances.[15]

Among the winds, Webern used only clarinets and horns, both featuring relatively wide ranges and each with some folk, pastoral, or rustic topicality. Both instruments had long been associated with these topics and with one another in prior art and music.[16][b] The clarinet and its antecedents were used prominently to evoke these associations in Viennese classical or popular music, as in Schrammelmusik, the minuet of Mozart's Symphony No. 39, or Franz Schubert's Hirtenmelodien and Hirtenchor from his incidental music to Rosamunde.[17] Julian Johnson, while cautioning against making too much of it, noted that the horns here were "the archetypal musical symbol of distance and wide alpine spaces".[18] Johannes Brahms used horns similarly in the Alphorn calls of his Symphony No. 1 (at the Più andante)[19] and Gustav Mahler to open his Symphony No. 9.[20]

After Webern finished the Symphony, the League of Composers asked him for a chamber orchestra work. He wrote Claire Raphael Reis that the strings could be reduced to soloists for the world premiere, but he wrote in his diary: "Better with multiple strings."[21] The published score indicates solo and tutti string parts.[5]

Form

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Relations of pitches and other parameters

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Webern's is likely the most formally unified or parsimonious symphony in the genre, in terms of its treatment of musical elements or parameters.[22]

He used the same tone row in both movements (here "P→" signifies the forwards direction to read the row's prime form, and "←R" signifies the reverse, i.e., the backwards direction to read the row's retrograde form):[22]

\new Staff \with { \remove "Time_signature_engraver" \remove "Bar_engraver" } \relative c'' { \clef treble \override Stem #'transparent = ##t a!1^"P →" fis g! gis e! f! b! bes d! cis c! ees^"← R" }

This tone row comprises chromatic hexachords related by retrograde inversion at the tritone.[23] Since row is divided into two symmetrical parts, and the second half is a mirror image of the first half, it has only 24 permutations, not the usual maximum of 48.[22] Webern often used this derived row structure.[24]

Its trichords are thus:

\new Staff \with { \remove "Time_signature_engraver" \remove "Bar_engraver" } \relative c'' { \clef treble \override Stem #'transparent = ##t <a! fis g!>1^"[0,1,3]" <gis e! f!>^"[0,1,4]" <b! bes d!>^"[0,1,4]" <cis c! ees>^"[0,1,3]" }

Movements

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The symphony is in two movements. Webern initially outlined his plan:[25]

I. Rondo: lively—sun
II. Variations: moderately
III. Free form: very calmly—moon

Then he considered:[25]

I. Variations
II. Rondo (Scherzo, march-like)
III. Slowly

He finished and described the last movement to Berg as "an Adagio in canonic form throughout" and decided it would be the center movement.[26] After finishing the "variation movement", he began a third (3 August 1928) but decided against it, citing the example of Beethoven's two-movement piano sonatas and Bach's two-movement (overture–dance suite) orchestral suites.

Thus his plan became:[27]

I. "canonic Adagio"
II. "variation movement"

In the final score, Universal Edition published it as follows.[5]

I. Ruhig schreitend
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The first movement is, most scholars now agree, in a concise (quasi-)sonata form with superimposed elements[28] and a rounded binary appearance.[29][c] In the traditional Classical manner, its exposition (mm. 1–26), development (mm. 27–45), recapitulation (mm. 46–60) are each repeated, and it ends in a stretto (quasi-)coda (mm. 61–66).[31][d] Webern articulated each of these sonata-form functions and some of their subsections with a brief ritardando (deceleration) or calando (deceleration and quieting).[22] He ended the development, traditionally the climax, merely with one eighth note (m. 45) scored for only the harp at ppp on the highest pitch of the entire movement.[22][e]

Webern sketched the first several bars painstakingly through many successive iterations.[33] The opening of his Symphony has been compared to that of Mahler's Symphony No. 9. In noting the similarities, Michael Spitzer focused on timbre and rhythm, describing the music of each, for horn duet, harp, and "rumbling" lower strings, as "evocative of natural expanse".[34] Julian Johnson agreed, noting their similar tempo indications—Webern's Ruhig schreitend or Calmly paced and Mahler's Andante comodo—as well as the allusion to walking, despite the sense of floating Webern's music may impart.[18] Though Webern had been unable to attend the Ninth's 1912 premiere, he played through it with Alban Berg and Heinrich Jalowetz, and he wrote Arnold Schoenberg that it was "inexpressibly beautiful".[35] Although Webern often used the indication ruhig (and its variants), he did so frequently in music he associated with personal loss and landscapes.[36]

Demonstrating Webern's early music studies, the first movement consists of four lines in a double canon (by inversion) with frequent palindromes and fixed register.[37] Anne C. Shreffler noted Webern's reliance on linear, song-like writing,[38] an observation sometimes made of Mahler.[39]

One canon features Ländler-like lilting melodic repetition on legato strings and winds, representing an orderly pastoral topic.[34]

The other canon is more percussive, even accompanimental in texture, qualities which Webern crafted after drafting the canon's melody. To this end, he used ornaments like acciaccature; articulations like staccati; instrumentation with the harp's plucked timbre; and musical techniques like double stops, mutes, pizzicati, string harmonics, and sul ponticello.[40]

II. [Variationen]
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The second movement comprises nine small, continuous sections replete with palindromes:[41][f]

Thema, Sehr ruhig —
Var. 1, lebhafter —
Var. 2, sehr lebhaft —
Var. 3, wieder mäßiger —
Var. 4, äußert ruhig —
Var. 5, sehr lebhaft —
Var. 6, marschmäßig, nicht eilen —
Var. 7, etwas breiter —
Coda

The theme is fragmented into motives and the variation developmental. All of the variations are canons. Bailey Puffett noted not only the use of dynamics, register, rhythm, tempi, texture, and timbre for Classical forms of surface-level variation, but also the use of more developmental devices like inversion and retrograde, augmentation and diminution, imitation, and some octave displacement.[g]

Danielle Hood described the fourth variation, identified by Webern as the midpoint, as a "waltz/Ländler double".[44] In the fifth variation's cowbell-like harp octaves and close, stomping string dissonances, Theodor W. Adorno heard the "soulful sound" of the Almabtrieb, delighting Webern.[45]

Reception

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Premieres

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Alexander Smallens and the Orchestra of the League of Composers gave the world premiere at New York's Town Hall on 18 December 1929, meeting jeers.[46]

At the Vienna Konzerthaus (1930), Webern himself conducted an ensemble including the Kolisch Quartet and members of the Wiener Staatsoper, flanking his Symphony with Brahms's Piano Quartet No. 2 (Eduard Steuermann, piano) and Beethoven's Septet. Josef Reitler [de] wrote in the Neue Freie Presse that "barbaric ... soullessness is foreign [to Webern]", contrasting him with Béla Bartók, Igor Stravinsky, and the Ernst Krenek of Jonny spielt auf.[47]

Listeners laughed in Berlin (Apr. 1931), where Otto Klemperer conducted.[48] He had only two weeks to prepare.[49] Heinz Tietjen was defunding the Krolloper ostensibly for its poorly attended modernist repertoire.[50][h]

Hermann Scherchen conducted the London premiere at the summer 1931 International Society for Contemporary Music Festival. Prompted by Schoenberg, Edward Clark had invited Webern to conduct. Webern declined, citing travel fatigue and his desire to focus on composition. There was also low remuneration, recent bad press, and as noted in his diary earlier that year: "Need for quiet and reflection."[58]

Klemperer programmed the Symphony again in 1936 Vienna, likely on Schoenberg's advice, but did not adhere to Webern's desired performance practice.[59]

Composers

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Karel Goeyvaerts noted proto-serial schemes of articulations, dynamics, and register, not time (meter, rhythm, or tempo).[60] George Rochberg noted the "objectified, mensural" relation of pitch and time in Webern's later instrumental œuvre as a whole.[61]

Karlheinz Stockhausen applied its specific row in Klavierstücke VII (1954–1955),[62] IX (1954, rev. 1961), and X (1954, rev. 1961).[63]

Notes

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  1. ^ Webern's Sechs Stücke for orchestra, Op. 6, were also noted for their abstraction of Alpine topics.[14]
  2. ^ They had been recommended for doubling or combination since at least the time of Jean-Philippe Rameau's use of them in Zoroastre (1749), Acante et Céphise (1751), and Les Boréades (1764), including by Ancelet in his Observations sur la music ... (1757) and François Alexandre Pierre de Garsault in his Notionaire, ou mémorial raisonné (1761).[16]
  3. ^ There has been some debate, perhaps because so much has been written about it. Leopold Spinner said it was in ternary form. Friedhelm Döhl argued it was better described as a "structural variation", lacking in the discursive and hierarchical features required of a sonata. Wolfgang Martin Stroh concluded that it was merely very much like a sonata and admitted that it might be analyzed as such. Kathryn Bailey Puffett noted that Arnold Schoenberg wrote in Fundamentals of Musical Composition that the sonata was more of a process than a form, that Webern was experimenting with sonata form, and that both saw it as a genre.[30]
  4. ^ Scholars differ slightly on the precise demarcations of the sonata-form functions.
  5. ^ Webern similarly concludes his Fünf Geistliche Lieder with a single, high, quiet harp harmonic.[32]
  6. ^ Bailey Puffett described these as all nine variations, noting the motivization of the traditional theme.[42] Robert Craft described them as eight, including the coda but not the theme.[citation needed]
  7. ^ She emphasized the latter strategy after Op. 21.[43]
  8. ^ Officially the Staatsoper am Platz der Republik, the Kroll was also called "Klemperer's Ensemble",[51] "Klemperer's Kroll" (though Alexander Zemlinsky et al. were engaged),[52] or the "Republikoper" and was an institution borne partly of the socialist Volksbühne.[53] Politics affected programming (e.g., the 1930 German premiere of Leoš Janáček's 1927–1928 Z mrtvého domu was canceled amid talkie-inspired anti-German social unrest in Prague).[54] Klemperer barely escaped an attack by Nazis celebrating the Krolloper's 1931 closure.[52] The Reichstag convened at the Kroll after the Feb. 1933 fire.[55] In Mar. 1933, Klemperer prepared his son: "We are Catholics who think in a German-National way ... . ... [T]imes are ... turbulent ... . ... Never talk ... politics, ... quietly ... work ... live privately", Klemperer emphasized.[56] He fled to Switzerland for safety in Apr. 1933.[57]

References

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  1. ^ Service 2013.
  2. ^ Webern 1929, 1.
  3. ^ Moldenhauer and Moldenhauer 1978, 480; Webern 1929, 2.
  4. ^ Näf 2019, 180–194; Webern 1929, 16.
  5. ^ a b c d Webern 1929.
  6. ^ a b c d Miller 2022b, "The rule".
  7. ^ Bailey Puffett 1991, 2; Johnson 1999, 200.
  8. ^ Bailey Puffett 1991, 154, 197, 202.
  9. ^ Johnson 1999, 74 106, 205; Morris 2016, 74–81, 119–120, 170–174.
  10. ^ Moldenhauer and Moldenhauer 1978, 257.
  11. ^ Moldenhauer and Moldenhauer 1978, 301–302.
  12. ^ Kolneder 1968, 113.
  13. ^ a b c Moldenhauer and Moldenhauer 1978, 342.
  14. ^ Peattie 2015, 65–66, 102–103.
  15. ^ Moldenhauer and Moldenhauer 1978, 128–129.
  16. ^ a b Hoeprich 2021, 12–16.
  17. ^ Hoeprich 2021, 42, 67–68; Rice 2021, 75–76; Ellsworth 2021, 115–118; Rushton 2021, 255–259; Starr 2021.
  18. ^ a b Johnson 1999, 205.
  19. ^ Fink 1993, 93.
  20. ^ Spitzer 2020, 350.
  21. ^ Moldenhauer and Moldenhauer 1978, 326–327, 344.
  22. ^ a b c d e Brown 2003, 876.
  23. ^ Maconie 2016, 195.
  24. ^ Babbitt 1987, 48.
  25. ^ a b Moldenhauer and Moldenhauer 1978, 324.
  26. ^ Moldenhauer and Moldenhauer 1978, 325.
  27. ^ Moldenhauer and Moldenhauer 1978, 325–326.
  28. ^ Bailey Puffett 1991, 153–154, 163–164; Shreffler 1994, 241–242.
  29. ^ Bailey Puffett 1991, 163; Hiller and Fuller 1967, 61.
  30. ^ Bailey Puffett 1991, 163.
  31. ^ Bailey Puffett 1991, 163–169; Brown 2003, 876.
  32. ^ Johnson 1999, 156–157.
  33. ^ Shreffler 1994, 42.
  34. ^ a b Spitzer 2020, 350–351.
  35. ^ Moldenhauer and Moldenhauer 1978, 160.
  36. ^ Johnson 1999, 205, Appendix II.
  37. ^ Bailey Puffett 1991, 165.
  38. ^ Shreffler 1994, 18.
  39. ^ Seldes 2009, 104–105.
  40. ^ Bailey Puffett 1991, 166; Spitzer 2020, 350–351.
  41. ^ Bailey Puffett 1991, 200–201.
  42. ^ Bailey Puffett 1991, 98–99.
  43. ^ Bailey Puffett 1991, 196–197.
  44. ^ Hood 2022, 172.
  45. ^ Johnson 1999, 7.
  46. ^ Miller 2022b, "The rule"; Morgan 1993, 416.
  47. ^ Moldenhauer and Moldenhauer 1978, 344.
  48. ^ Heyworth 1983, 246.
  49. ^ Heyworth 1983, 362; Moskovitz 2010, 256.
  50. ^ Moskovitz 2010, 249-251.
  51. ^ Moskovitz 2010, 241.
  52. ^ a b Moskovitz 2010, 256.
  53. ^ Heyworth 1983, 246, 368–369.
  54. ^ Moskovitz 2010, 255; Wingfield 1998, 113–115.
  55. ^ Moskovitz 2010, 262–264.
  56. ^ Heyworth 1983, 407.
  57. ^ Heyworth 1983, 410.
  58. ^ Moldenhauer and Moldenhauer 1978, 362–364.
  59. ^ Moldenhauer and Moldenhauer 1978, 470–471, 679–680.
  60. ^ Maconie 2016, 38.
  61. ^ Rochberg 2004, 15.
  62. ^ Maconie 2016, 127.
  63. ^ Maconie 2016, 195–196.

Bibliography

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  • Babbitt, Milton. 1987. Words about Music: The Madison Lectures, eds. Stephen Dembski and Joseph N. Straus. Madison: The University of Wisconsin Press. ISBN 978-0-299-10790-1 (hbk).
  • Bailey Puffett, Kathryn. 1991. The Twelve-Note Music of Anton Webern: Old Forms in a New Language. Music in the Twentieth Century. Cambridge and New York: Cambridge University Press. ISBN 978-0-521-39088-0 (hbk). ISBN 978-0-521-54796-3 (pbk).
  • Brown, A. Peter. 2003. The Second Golden Age of the Viennese Symphony: Brahms, Bruckner, Dvořák, Mahler, and Selected Contemporaries. Vol. 4, The Symphonic Repertoire. Bloomington: Indiana University Press. ISBN 978-0-253-33488-6 (hbk).
  • Ellsworth, Jane. 2021. "From 'Little Trumpet' to Unique Voice: The Clarinet in the Concert Orchestra". The Clarinet, ed. Jane Ellsworth. Rochester: University of Rochester Press. ISBN 978-1-80010-350-4 (ebk). ISBN 978-1-64825-017-0 (hbk).
  • Fink, Robert. 1993. "Desire, Repression & Brahms’s First Symphony". repercussions. 2(1):75–103.
  • Heyworth, Peter. 1983. Otto Klemperer: His Life and Times, Vol. I: 1885–1933. Cambridge and New York: Cambridge University Press. Reissued with corrections, 1996. ISBN 978-0-521-49509-7 (ebk). ISBN 978-0-521-39088-0 (hbk).
  • Hiller, Lejaren, and Ramon Fuller. "Structure and Information in Webern’s Symphonie, Op. 21". Journal of Music Theory. 11(1):60–115. Duke University Press. doi:10.2307/842949.
  • Hoeprich, Eric [fr]. 2021. "Clarinet Iconography". The Clarinet, ed. Jane Ellsworth. Rochester: University of Rochester Press. ISBN 978-1-80010-350-4 (ebk). ISBN 978-1-64825-017-0 (hbk).
  • Hood, Danielle. 2022. The Viennese Waltz: Decadence and the Decline of Austria’s Unconscious. Lanham: Lexington Books. ISBN 978-1-79-365393-2 (ebk). ISBN 978-1-79-365392-5 (hbk).
  • Johnson, Julian. 1999. Webern and the Transformation of Nature. Cambridge: Cambridge University Press. ISBN 978-0-521-66149-2.
  • Kolneder, Walter. 1968. Anton Webern: An Introduction to His Works. Berkeley and Los Angeles: University of California Press. Trans. Humphrey Searle. (Translation of Anton Webern, Einführung in Werk und Stil. Rodenkirchen: P. J. Tonger, 1961.) ISBN 978-0-520-34715-1.
  • Maconie, Robin. 2016. Other Planets: The Complete Works of Karlheinz Stockhausen, 1950–2007. Updated edition. Lanham: Rowman & Littlefield. ISBN 978-1-44-227268-2 (electronic).
  • Miller, David H. 2022. "Shadows, wraiths, and amoebas: the distinctive flops of Anton Webern in the United States". Transposition. 10. École des hautes études en sciences sociales (EHESS) and the Cité de la musique-Philharmonie de Paris. (30 May, accessed 19 Jan. 2024)
  • Moldenhauer, Hans, and Rosaleen Moldenhauer. 1978. Anton von Webern: A Chronicle of His Life and Work. London: Victor Gollancz Ltd. ISBN 978-0-394-47237-9.
  • Morgan, Robert P. 1993. Modern Times: From World War I to the Present. Man & Music Series; Vol. 8. London: Palgrave Macmillan. ISBN 978-1-349-11291-3 (ebk). ISBN 978-1-349-11293-7 (hbk).
  • Morris, Christopher. 2016. "Modernism and the Cult of Mountains: Music, Opera, Cinema". Ashgate Interdisciplinary Studies in Opera. Oxford and New York: Taylor & Francis. ISBN 978-0-75466-970-8 (hbk). Reprint from original in 2012 by Ashgate Publishing.
  • Moskovitz, Marc. 2010. Alexander Zemlinsky: A Lyric Symphony. Woodbridge, UK: Boydell. ISBN 978-1-84383-578-3.
  • Näf, Lukas. 2019. "Tempogestaltung in Weberns Sinfonie op. 21." In Rund um Beethoven: Interpretationsforschung heute, eds. Thomas Gartmann and Daniel Allenbach, 180–194. Musikforschung der Hochschule der Künste Bern, Vol. 14. Schliengen: Edition Argus. ISBN 978-3-931264-94-9. doi:10.26045/kp64-6178.
  • Peattie, Thomas. 2015. Gustav Mahler's Symphonic Landscapes. Cambridge: Cambridge University Press. ISBN 978-1-107-02708-4 (hbk).
  • Rice, Albert R. 2021. "The Chalumeau and Clarinet before Mozart". The Clarinet, ed. Jane Ellsworth. Rochester: University of Rochester Press. ISBN 978-1-80010-350-4 (ebk). ISBN 978-1-64825-017-0 (hbk).
  • Rushton, Julian. 2021. "The Clarinet in Nineteenth-Century Opera". The Clarinet, ed. Jane Ellsworth. Rochester: University of Rochester Press. ISBN 978-1-80010-350-4 (ebk). ISBN 978-1-64825-017-0 (hbk).
  • Rochberg, George. 2004. The Aesthetics of Survival: A Composer's View of Twentieth-Century Music. Revised, expanded, and reprinted from original in 1984. Ann Arbor: University of Michigan Press. ISBN 978-0-472-02511-4 (ebk). ISBN 978-0-472-03026-2 (pbk).
  • Seldes, Barry. 2009. Leonard Bernstein: The Political Life of an American Musician. Berkeley: University of California Press. ISBN 978-0-520-94307-0.
  • Service, Tom. 2013. "Symphony Guide: Webern's Op 21". Tom Service on Classical Blog. The Guardian.com (17 Dec., accessed 19 Jan. 2024).
  • Shreffler, Anne C. 1994. Webern and the Lyric Impulse: Songs and Fragments on Poems of Georg Trakl, ed. and preface by Lewis Lockwood. Studies in Musical Genesis and Structure Series. Oxford: Oxford University Press. ISBN 978-0-19-816224-7.
  • Spitzer, Michael. 2020. A History of Emotion in Western Music: A Thousand Years from Chant to Pop. Oxford: Oxford University Press. ISBN 978-0-19-006176-0.
  • Starr, S. Frederick. 2021. "The Clarinet in Vernacular Music". The Clarinet, ed. Jane Ellsworth. Rochester: University of Rochester Press. ISBN 978-1-80010-350-4 (ebk). ISBN 978-1-64825-017-0 (hbk).
  • Webern, Anton. 1929. Symphonie. Reprinted 1956. Vienna: Universal Edition.
  • Wingfield, Nancy Meriwether. "When Film Became National: 'Talkies' and the Anti-German Demonstrations of 1930 in Prague". Austrian History Yearbook. 29(1):113–138. Center for Austrian Studies, University of Minnesota. Published online in 2015 by Cambridge University Press. doi:10.1017/S006723780001482X.

Further reading

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