Webern Op.22 - 1930

Structure

Loosely based on sonata form. Exposition and development use the same forms of the row although presented differently. Development explores other row forms. Introduction and coda are exactly symmetrical mirror versions of each other. Repeats and slight rets help mark the changes from one section to another.

Harmony and tonality

Maximally chromatic. No note sounds more or less important in the harmony than another. No sense of key or tonic however begins and ends on same note (Db/C#). Harmony very dissonant with lots of seconds, sevenths and tritones. Very sparse writing - only one or two notes at the same time usually. Some 3 notes and the very occasional 4 note.

Melody and rhythm

His choice of note order in the row emphasises its chromatic nature - no diatonic patterns emerging. Large and awkward leaps in the melody. Highly fragmented - single notes and pairs of notes separated by rests. Most notes played consecutively is 3. Melody rapidly switches from one instrument to another (Klangfarbenmelodie). Melody is highly repetitive but these are not obvious. Mainly in triple time

Texture and sonority

Essentially polyphonic with piano treated as 2 melodic lines. Extensive use of imitation. Opening uses mirror canons - staggered repetition of a prime form of the row with its inverse. Sparse texture - made of fragments that overlap by one or two notes. Resulting texture can be called pointillism. Very sparse texture - only one or 2 notes played at the same time usually. Melody fragmented across the ensemble. The result is Klangfarbenmelodie.

Orchestra

Contrasting set of instruments. Violin plays with mute for half. Range of bowed or pizzicato.