Variations for piano (Webern)
Encyclopedia
Variations for piano, op. 27, is a twelve-tone
piece
for piano
composed by Anton Webern
in 1936. It consists of three movements:
Webern's only published work for solo piano, the Variations are one of his major instrumental works and a seminal example of his late style.
Opus 27 took Webern about a year to complete. The three movements were not composed in the order they appear in the work:
The piece is the only work for piano solo that was published by the composer and assigned an opus number. It was also the last work by Webern to be published by Universal Edition
during his lifetime.
The work's title, Variations, is ambiguous. In a letter dated 18 July, Webern wrote: "The completed part is a variations movement; the whole will be a kind of 'Suite'". Only the third movement was completed at the time, and it is clearly a set of variations
. The form of the other two movements conforms to the "Suite
" plan: the first movement is a ternary form
, ABA, and the second is a binary form
. However, to refer to an entire work by the form of its last movement is very unusual, and numerous attempts have been made to explain the title.
Webern scholar Kathryn Bailey outlined three possible views on the structure of the piece. Webern's Variations may be considered any of these:
One of the earliest explanations was offered by René Leibowitz
, who in 1948 described the first movement as a theme and two variations, the second movement as a theme with a single variation, and the third movement as five variations of yet another theme. Willi Reich, a member of Arnold Schoenberg
's circle, described the work as a sonatina which begins with a set of variations (first movement) and ends with a sonata form (third movement). Reich claimed his explanation was identical to Webern's and stemmed from the two men's conversations, however, the authenticity of this claim has been questioned.
Yet another explanation was provided by Friedhelm Dōhl (who published Reich's analysis, but did not find it satisfactory), who viewed each of the fourteen phrases in the first movement as a variation of the prime/retrograde idea, and found the same structure in the second movement. Robert U. Nelson published a similar analysis in 1969. Finally, Kathryn Bailey's analysis suggests that the first movement is a sonata form, her ideas supported by Webern's own remarks in the original manuscript, published in 1979 by Peter Stadlen.
, which is featured throughout the work. Horizontal symmetry can be observed, for example, in successive phrases of the first movement: bars 1–18 comprise four phrases, each built from the normal row and its retrograde stated simultaneously, and the second half of the phrase is always a reverse of the first. Each phrase is therefore a palindrome
, although only the first is a perfect one, with minor adjustments in all others. Vertical symmetry pervades the second movement, which is a canon
. The pitches are arranged around the pitch axis of A4. Each downward reaching interval is replicated exactly in the opposite direction.
Twelve-tone technique
Twelve-tone technique is a method of musical composition devised by Arnold Schoenberg...
piece
Musical composition
Musical composition can refer to an original piece of music, the structure of a musical piece, or the process of creating a new piece of music. People who practice composition are called composers.- Musical compositions :...
for piano
Piano
The piano is a musical instrument played by means of a keyboard. It is one of the most popular instruments in the world. Widely used in classical and jazz music for solo performances, ensemble use, chamber music and accompaniment, the piano is also very popular as an aid to composing and rehearsal...
composed by Anton Webern
Anton Webern
Anton Webern was an Austrian composer and conductor. He was a member of the Second Viennese School. As a student and significant follower of Arnold Schoenberg, he became one of the best-known exponents of the twelve-tone technique; in addition, his innovations regarding schematic organization of...
in 1936. It consists of three movements:
- Sehr mäßig ("Very moderate")
- Sehr schnell ("Very fast")
- Ruhig fließend ("Calm, flowing")
Webern's only published work for solo piano, the Variations are one of his major instrumental works and a seminal example of his late style.
History of composition
By the early 1930s Webern was one of the composers and artists criticised by the Nazi Party, which was rapidly gaining power. By 1934 Webern's conducting career, a major source of income for the composer, was practically over, and he earned his living by teaching composition to a few private pupils. Despite the considerable disadvantages this financial situation had, the lack of a stable job provided Webern with more time to compose.Opus 27 took Webern about a year to complete. The three movements were not composed in the order they appear in the work:
- Third movement: begun 14 October 1935, completed 8 July 1936
- First movement: begun 22 July 1936, completed 19 August 1936
- Second movement: begun 25 August 1936, completed 5 November 1936
The piece is the only work for piano solo that was published by the composer and assigned an opus number. It was also the last work by Webern to be published by Universal Edition
Universal Edition
Universal Edition is a classical music publishing firm. Founded in 1901 in Vienna, and originally intended to provide the core classical works and educational works to the Austrian market...
during his lifetime.
Structure
All three movements of the work are 12-tone pieces based on the following row (as found at the beginning of the second movement):The work's title, Variations, is ambiguous. In a letter dated 18 July, Webern wrote: "The completed part is a variations movement; the whole will be a kind of 'Suite'". Only the third movement was completed at the time, and it is clearly a set of variations
Variation (music)
In music, variation is a formal technique where material is repeated in an altered form. The changes may involve harmony, melody, counterpoint, rhythm, timbre, orchestration or any combination of these.-Variation form:...
. The form of the other two movements conforms to the "Suite
Suite
In music, a suite is an ordered set of instrumental or orchestral pieces normally performed in a concert setting rather than as accompaniment; they may be extracts from an opera, ballet , or incidental music to a play or film , or they may be entirely original movements .In the...
" plan: the first movement is a ternary form
Ternary form
Ternary form, sometimes called song form, is a three-part musical form, usually schematicized as A-B-A. The first and third parts are musically identical, or very nearly so, while the second part in some way provides a contrast with them...
, ABA, and the second is a binary form
Binary form
Binary form is a musical form in two related sections, both of which are usually repeated. Binary is also a structure used to choreograph dance....
. However, to refer to an entire work by the form of its last movement is very unusual, and numerous attempts have been made to explain the title.
Webern scholar Kathryn Bailey outlined three possible views on the structure of the piece. Webern's Variations may be considered any of these:
- A three-movement sonata: sonata formSonata formSonata form is a large-scale musical structure used widely since the middle of the 18th century . While it is typically used in the first movement of multi-movement pieces, it is sometimes used in subsequent movements as well—particularly the final movement...
– binary scherzoScherzoA scherzo is a piece of music, often a movement from a larger piece such as a symphony or a sonata. The scherzo's precise definition has varied over the years, but it often refers to a movement which replaces the minuet as the third movement in a four-movement work, such as a symphony, sonata, or...
– variations - A three-movement suite: ternary movement – binary movement – variations
- A set of variations, in which the first two movements have little connection to the third
One of the earliest explanations was offered by René Leibowitz
René Leibowitz
René Leibowitz was a French composer, conductor, music theorist and teacher born in Warsaw, Poland.-Career:...
, who in 1948 described the first movement as a theme and two variations, the second movement as a theme with a single variation, and the third movement as five variations of yet another theme. Willi Reich, a member of Arnold Schoenberg
Arnold Schoenberg
Arnold Schoenberg was an Austrian composer, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School...
's circle, described the work as a sonatina which begins with a set of variations (first movement) and ends with a sonata form (third movement). Reich claimed his explanation was identical to Webern's and stemmed from the two men's conversations, however, the authenticity of this claim has been questioned.
Yet another explanation was provided by Friedhelm Dōhl (who published Reich's analysis, but did not find it satisfactory), who viewed each of the fourteen phrases in the first movement as a variation of the prime/retrograde idea, and found the same structure in the second movement. Robert U. Nelson published a similar analysis in 1969. Finally, Kathryn Bailey's analysis suggests that the first movement is a sonata form, her ideas supported by Webern's own remarks in the original manuscript, published in 1979 by Peter Stadlen.
Symmetry
A particularly notable feature of Variations is symmetrySymmetry
Symmetry generally conveys two primary meanings. The first is an imprecise sense of harmonious or aesthetically pleasing proportionality and balance; such that it reflects beauty or perfection...
, which is featured throughout the work. Horizontal symmetry can be observed, for example, in successive phrases of the first movement: bars 1–18 comprise four phrases, each built from the normal row and its retrograde stated simultaneously, and the second half of the phrase is always a reverse of the first. Each phrase is therefore a palindrome
Palindrome
A palindrome is a word, phrase, number, or other sequence of units that can be read the same way in either direction, with general allowances for adjustments to punctuation and word dividers....
, although only the first is a perfect one, with minor adjustments in all others. Vertical symmetry pervades the second movement, which is a canon
Canon (music)
In music, a canon is a contrapuntal composition that employs a melody with one or more imitations of the melody played after a given duration . The initial melody is called the leader , while the imitative melody, which is played in a different voice, is called the follower...
. The pitches are arranged around the pitch axis of A4. Each downward reaching interval is replicated exactly in the opposite direction.
Further reading
- Bailey, Kathryn. 1988. "Willi Reich's Webern". Tempo, New Series, No. 165, Emigres and 'Internal Exiles' (Jun.), pp. 18–22.
- Fiori, Mary E. 1970. "Webern's Use of Motive in the 'Piano Variations'". In: Lincoln, Harry B. (ed.). The Computer and Music, pp. 115–122. Ithaca: Cornell University Press.
- Jones, James Rives. 1968. "Some Aspects of Rhythm and Meter in Webern's Opus 27". Perspectives of New Music, Vol. 7, No. 1 (Autumn - Winter, 1968), pp. 103–109.
- Leleu, Jean-Louis. 1998. "Intuition et esprit de système. Réflexions sur le schéma formel du deuxième mouvement des Variations pour piano op. 27 de Webern". Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap, Vol. 52, pp. 101–122.
- Lewin, David. 1993. "A Metrical Problem in Webern's Op. 27". Music Analysis, Vol. 12, No. 3 (Oct., 1993), pp. 343–354.
- Moldenhauer, Hans, and Rosaleen Moldenhauer. 1978. Anton von Webern: A Chronicle of His Life and Work. New York: Alfred A. Knopf. ISBN 0-394-47237-3. London: Gollancz. ISBN 0575024364
- Ogden, Wilbur. 1962. "A Webern Analysis". Journal of Music Theory, Vol. 6, No. 1 (Spring 1962), pp. 133–135.
- Travis, Roy. 1966. "Directed Motion in Two Brief Piano Pieces by Schoenberg and Webern". Perspectives of New Music 4.2 (Spring-Summer 1966), pp. 85–89.
- Westergaard, Peter. 1963. "Webern and "Total Organization": an analysis of the Second Movement of Piano Variations, op. 27". Perspectives of New Music 1.2 (Spring 1963), pp. 107–120.
External links
- "A.Webern Variations, for solo piano: About symmetry on music", Musical Analysis: Analysis of Masterpieces. [04/06/22] Nobuaki Sakai.
- Symmetry as a Compositional Determinant, by Larry J. Solomon; includes analysis of the first two movements
- A Metrical Analysis and Re-notation of Webern's Variations for Piano, 1st movement
- Performance of Variations for Piano by Jonathan BissJonathan BissJonathan Biss is an American classical pianist.Biss represents the third generation in a family of professional musicians, which includes his grandmother Raya Garbousova , as well as his parents, the Israeli-born violinist Miriam Fried and the violist Paul Biss...
from the Isabella Stewart Gardner MuseumIsabella Stewart Gardner MuseumThe Isabella Stewart Gardner Museum or Fenway Court, as the museum was known during Isabella Stewart Gardner's lifetime, is a museum in the Fenway-Kenmore neighborhood of Boston, Massachusetts, located within walking distance of the Museum of Fine Arts and near the Back Bay Fens...
in MP3MP3MPEG-1 or MPEG-2 Audio Layer III, more commonly referred to as MP3, is a patented digital audio encoding format using a form of lossy data compression...
format