Derivative Analysis and Serial Music: the Theme of Schoenberg's Orchestral Variations Op.31

Carlos De Lemos Almada

doi:10.1590/permusi20163301

Abstract

Abstract: The main objective of this paper is to investigate the derivative relations between the constituent elements of the theme of Arnold Schoenberg's Orchestral Variations Op.31 and its source of basic material or Grundgestalt, a theoretical principle elaborated by the composer. After a bibliographical revision concerned with the origins and motivations for the formulation of the concept, the paper discusses the problematic issue of the presence of thematic development in Schoenberg's serial music, taking as reference analyzes by some authors (RUFER, 1954; BOSS, 1992; HAIMO, 1997; TARUSKIN, 2010). It is also proposed that the Grundgestalt of a twelve-tone piece can be manifested according to two levels, abstract and concrete, which adjusts to the analytical methodology adopted in this study, described in a specific section of the paper. The results obtained reveal an extraordinarily organic and economic thematic construction.

Highlights

This paper is part of a broad research project which aims to systematically study musical variation under analytical and compositional perspectives, theoretically grounded on the principles of developing variation and Grundgestalt, both elaborated by Arnold Schoenberg (1874‐1951)
thematic derivative analysis (TDA) is intended to investigate if the structure of a theme of a given musical work could be explained under the bias of gradual and progressive transformations from a reduced set of basic ideas
This study presents the first application of TDA to a serial work, through the exam of the derivative structure of the theme of Schoenberg’s Orchestral Variations Op.[31]

Summary

‐ Introduction

This paper is part of a broad research project which aims to systematically study musical variation under analytical and compositional perspectives, theoretically grounded on the principles of developing variation and Grundgestalt, both elaborated by Arnold Schoenberg (1874‐1951). Besides a detailed explanation about its postulates and the multitude of compositional possibilities extracted from analyzes of a vast group of Schoenberg’s serial works, the author presents an original perspective about the correlations between the Grundgestalt (considering implicitly both its levels, as previously mentioned) and the manners used for elaboration and manipulation of the series After demonstrating his own methodology in an analysis of Beethoven’s Piano Sonata Op.10/1, Rufer proposes to extend its application to twelve‐tone music, stressing the fact that Beethovenian and Schoenbergian thematic treatment, apart the differences of their respective harmonic idioms, are essentially equivalent (RUFER, 1954, p.38‐45; see p.55‐78). The scheme reinforces the germinal influence of Gc’s A and B in comparison with C: just one of the seven basic Pv’s (3) is directly derived from the latter

‐ Conclusion

Note about the author