Фриц Хайнрих Кляйн и идея сериализма

Abstract

Integral serialism is a method of composition that organizes different musical parameters on the basis of the principle of a series. Although the new type of structuring of musical space was influential in the music written after World War II, the idea itself of integral serialism arose during the advent of the twelve-tone system, with the creation of the serial concept as such. The article is devoted to the Austrian composer Fritz Heinrich Klein who was one of the originators of serial music. In 1921 he composed a piano piece “Die Maschine” opus 1, in which he anticipated the twelve-tone discoveries of Arnold Schoenberg, as well as the trends of artistic and technical discoveries of subsequent times. The author of the article considers this composition in the context of the idea of integral serialism. “Die Maschine” presents an intriguing attempt of organization of pitch, rhythmic and harmonic parameters based on a single serial principle, which Klein treats in the traditional conceptual categories (musical theme, chord, scale, etc.). The author draws attention to the fact that the composer openly demonstrated the pre-compositional material by enumerating his main components in the preface of the piece. The chief discoveries of Klein were the twelve-point rhythmic theme, the “pyramid chord”, the “mother chord” and the all-interval twelve-tone row formed on its foundation. The author of the article presents characterization of this material, indicates at features of its realization in “Die Machine” and draws parallels between the experiments of Klein and the composers of the post-war period (Messiaen, Babbitt, Nono). Keywords: Fritz Heinrich Klein, twelve-tone music, integral serialism, pitch row, all-interval twelve-tone row, rhythmic structure.