735239
Webern - Quartet Op. 22: Mvt 1
- Instruments and forces
- • Webern uses unusual
group of instruments to
aid in creation of
klangfarbenmelodie
- • Various technical
markings for violin part,
e.g. use of Dämpfer –
bar 1, and often rapid
changes beteen pizz
and arco – bar 23
- • Dynamics change
often, but are mostly
very quiet e.g. pp at
bar 2
- • Wide leaps
in the clarinet
– e.g. bar 16
- • Violin has a 3.5
octave range –
lowest note at bar
16 – highest at bar
22
- • Piano plays in
2 part texture
throughout the
piece
- • Changes of
clef e.g. bars
28-29
- • Webern uses unusual
group of instruments to
aid in creation of
klangfarbenmelodie
- Structure
- • Piece is in
sonata form with no
second subject
- • There is a 5
bar introduction
and a coda to
end, beginning at
bar 39
- • Traditional tonal
aspect to the structure
has been replaced by
serial technique
- • Piece made up of
tone rows with octave
displacement
- • Prime row
doesn’t start
until bar 6
- • Beginning of each
section is highlighted by
rit… a tempo markings
e.g. bar 6
- • Piece is in
sonata form with no
second subject
- Melody
- • Melody created
from tone row, with
use of octave
displacement e.g.
bars 22-23 in violin
part
- • Disjunct melody
melody with wide
leaps with are often
angular
- • Use of
klangfarbenmelodie
to add colour to
melody
- • Palindrome (same but
backwards) of beginning a
bars 24-26 and 39-42
- • Large range, especially in
violin part – 3.5 octave range
lowest note at bar 16 –
highest at bar 22
- • Wide leaps
in clarinet part
e.g. bar 16
- • Melody created
from tone row, with
use of octave
displacement e.g.
bars 22-23 in violin
part
- Rhythm
- • 4 rhythmic patterns for entire piece all
of which are found within the first 3 bars
- Idea taken from Bach
- Idea taken from Bach
- • Rapid
changes of
metre bars
16-24
- • Metre is
masked by
syncopation –
e.g. bar 22
- • Coda –
momentum
slowed by
pauses
- • Beginning of each
section is highlighted
by rit… a tempo
markings e.g. bar 6
- • Augmentation of
original rhythmic
patterns e.g. bar 35
- • 4 rhythmic patterns for entire piece all
of which are found within the first 3 bars
- Harmony
- • Range of different types of
tone rows: prime, transposed,
inversions and retrogrades
- • Entirely
chromatic
harmony
throughout the
piece
- • Verticalisation –
bar 14
- • Enharmonic
equivalents of
notes e.g. bar 23
- • Octave
displacement e.g.
bars 22-23
- • Palindrome (same but
backwards) of beginning a
bars 24-26 and 39-42
- • Range of different types of
tone rows: prime, transposed,
inversions and retrogrades
- Tonality
- • Atonal
- • Serialist
- • Chromatic
- • Based on tone
rows - prime,
transposed,
inversions and
retrogrades
- • Atonal
- Texture
- • Monophonic
introduction
- • Use of
contrapuntal
textures at bar
6
- • 3 part
counterpoint
during
exposition
- • Use of Cantus
Firmus at bars 6 –
14
- • Mirror cannon
(intervals reversed) at
bar 28
- • Stretto (entries
become closer
together) in
development – e.g.
22-23
- • Texture
thickened by
overlapping
rows
- • Monophonic
introduction
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