Weberns verworfene Mikrotönevon Dominik Schweiger |
Webern's rejected microtones
by Dominik Schweiger
|
From Mitteilungen der Paul Sacher Stiftung, no. 11 (April 1998)
(you're hearing my computer realization of the early version
of Webern's An Baches Ranft, with the microtones.)
| Ein bisher von der Musikwissenschaft noch nicht reflektiertes Phänomen stellen die wenigen überlieferten Beispiele von Mikrotönen bei Webern dar, die sich in Manuskripten zu den Liedern "An baches ranft" und "Das lockere saatgefilde lechzet krank" nach Stefan George finden [1]. Bei beiden Quellen handelt es sich um vollständige Tintenreinschriften, die in unterschiedlichem Masse Korrekturen in Form von Bleistifteintragungen und Überklebungen aufweisen. "An baches ranft" weicht in dieser Version noch erheblich von der durch die Edition als op. 3, Nr. 3 endgültig kodifizierten Gestalt ab [2], wobei die zahlreichen und teilweise massiven Korrekturen eine recht weitgehende, doch immer noch nicht vollständige Annäherung an die Letztfassung darstellen. "Das lockere saatgefilde..." enthält demgegenüber nur geringfügige Korrekturen; ein Indiz dafür, dass Webern für eine Veröffentlichung dieses Liedes deine ernsthaften Vorbereitungen getroffen hat. |
Thus far, musicological research on Webern has not reflected on the mystery of
the few examples of microtones handed down to us, which are found in
manuscripts of the songs "At the brook's edge" and "The loose seed-realms
thirst yourself ill," after Stefan George. [1] Both sources concern complete
ink recopies, showing corrections in various measures in the form of pencil
entries and pasting over. This source version of "At the brook's edge"
deviates substantially from the final edition of op. 3 no. 3. [2], as the
numerous and partial substantial corrections are quite large but do not
represent a complete approximation of the final version. In contrast to
this, "The loose seed-realms..." contains only slight corrections, which is
an indication of the fact that Webern made serious preparations for the
publication of this song .
The rare delivered examples of microtones from Webern haven't been reflected yet by musicology. Those microtones can be found in the manuscripts to the songs "On the edge of the creek" and "The loose seed-realms thirst themselves ill" from Stefan George. Both sources are complete ink recopies which show corrections in the form of pencil notes and pasting over. This version of "On the edge of the creek" differentiates still substantially from the final codified shape of the edition op. 3 #3, altho the numerous and sometimes quite substantial corrections come quite close but yet not completely "close" to the final version. Compared to that "The loose seed-realms..." contains only slight corrections, which indicates that Webern made serious preparation for a publication of this song. | ||||||
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[1] Das erstgenannte Lied wurde 1919 ohne eigenen Titel als Nr. 3 der Fünf Lieder aus "Der siebente Ring" von Stefan George op. 3 vom Verein für musikalische Privataufführungen, also unter Weberns direkter Aufsicht, im Selbstverlag veröffentlich und 1920 in dieser Gestalt von der Universal Edition übernommen, das andere als letztes von Four Stefan George Songs 1968/70 von Peter Westergaard bei Carl Fischer in New York herausgegeben. Da ich mich hier nicht auf diese Ausgaben, sondern auf Weberns Handschriften beziehe, halte ich mich in der Titelbezeichnung an Weberns Graphie, die in diesen frühen Autographen - von kleinen Irrtümern abgesehen - noch Georges Originalgraphie respektiert. Die in Rede stehenden Manuskripte befinden sich heute im Besitz der Paul Sacher Stiftung. |
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[1] The first song mentioned comes from 1919, titled only as No. 3 of the Five songs from "The seventh ring" of Stefan George, op. 3 for the Association for Musical Private Performances, then under Webern's direct supervision, self published and transferred in 1920 to the Universal Edition. The latter song is published by Peter Westergaard and Carl Fischer in New York as the last of Four Stefan George Songs, 1968/70. I do not here refer to these later editions, but to Webern's manuscript. Thus, I adhere to the title designation in Webern's autograph, which in these early manuscripts, apart from small mistakes, is the same as George’s original autograph. Today the manuscripts are in the possession of the Paul Sacher Foundation. The song first mentioned was self-published in 1919, without a title of its own, as #3 of the 5 Songs from "The 7th Ring" by Stefan George, op. 3, of the Association for Private Musical Performances, under Webern's supervision, and adapted by Universal Edition in this form in 1920. The other song was published as the last one in Four Stefan George Songs 1968/70 by Peter Westergaard by Carl Fischer in New York. In this article, I don't refer to these editions, but rather to Webern's handwritten manuscript. Therefore I name the titles according to Webern's manuscript, which, in these early autographs -- apart from small mistakes -- still respect George's original writing. The mentioned manuscripts are in possession of the Paul Sacher Archive.
[2]
Auf die gravierendsten Abweichungen, die später liquidierten Fundamenttöne, hat
Reinhold Brinkmann schon 1972 hingewiesen (Reinhold Brinkmann, "Die George-
Lieder 1908/09 und 1919/23 - ein Kapitel Webern-Philologie", in: "österreichische
Gesellschaft für Musik. Beiträge 1972/73. Webern-Kongress", Kassel 1973, S. 40-50, S. 48 f.).
|
[2]
The most serious deviations, the fundamental tones later disposed
of, have already been addressed by Reinhold Brinkmann in 1972 (Reinhold
Brinkmann, "Die George-Lieder 1908/09 und 1919/23 - ein Kapitel
Webern-Philologie", in: "österreichische Gesellschaft für Musik. Beiträge
1972/73. Webern-Kongress" ["the George songs 1908/09 and 1919/23- a chapter
of Webern-philology", in: "The Austrian Society for Music: Contributions
1972/73. Webern symposium"], Kassel 1973, p. 40-50, p. 48 f.).
| [2] Reinhold Brinkmann already referred 1972 (Reinhold Brinkmann, "...") to the most serious deviations, the bass notes later deleted.
Beide Lieder enthalten Mikrotöne nur an je einer bestimmten Stelle:
In "An baches ranft" finden sich ihrer zwei in Takt 11, in "Das lockere saatgefilde..."
kommt einer in Takt 6 vor. Notiert sind sie mit Kreuzchen anstelle
gewöhnlicher Notenköpfe und ohne Versetzungszeichen; ihre Tonhöhen
werden mittels verbaler Anmerkungen spezifiziert: "1) zwischen e und f"
sowie "2) zwischen dis und e", später ersetzt durch "NB: leise in der Tonhöhe
zwischen f und e bez. e und es zu sprechen" in "An baches ranft", "Anmerkung:
zwischen f und e" in "Das lockere saatgefilde..." (Abbildungen 1 und 2). [3]
|
Both songs each contain microtones in only one certain place. In "At the
brook's edge" there are two in measure 11, and in "The loose seed-realms... "
one comes forth in measure 6. They are notated with little crosses instead
of normal note-heads, without accidentals; their pitches are specified by
means of verbal comments: "1) between e and f," and "2) between d-sharp
and e," later replaced by "NB: quietly spoken in the pitch-space between f and e,
and between e and e-flat" in "At the brook's edge", and "note: between f and e"
in "The loose seed-realms..." (figures 1 and 2). [3]
|
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| [3] Die vielleicht nicht unbedeutende Tatsache, dass die Kreuzchen jeweils den unteren im Zwölfhalbtonsystem enthaltenen Nachbarton bezeichnen, sei hier nur am Rande vermerkt.
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| [3] A side note: it is perhaps not insignificant that in every case the little crosses designate the lower of the two nearest twelve-semitone-system representatives. [Translator's comment: One implication of this is that Webern's intended pitch may be lower than an exact quarter-tone.] |
Figure 1: Webern's fair copy of An Baches Ranft, op. 3 no. 3.
[translator's comment: Note that the section with the microtones was pasted over an
older part.]
Figure 2: Webern's fair copy of Das lockere saatgefilde lechzet krank,
published posthumously as no. 4 of Four Stefan George Songs.
| Wie aus den Abbildungen ersichtlich ist, hat Webern in beiden Fällen die Mikrotöne schon in diesen Handschriften durch Streichung der entsprechenden Anmerkungen wieder verworfen, wobei er im ersten Fall alternativ zu den Kreuzchen, ohne aber diese zu streichen [4], die (in der endgültigen Fassung nicht beibehaltene) Tonfolge e1-fis1 skizziert, und in dem anderen Fall das Kreuzchen kurzerhand - und ohne eine genaue Spezifikation der Tonhöhe durch ein Vorzeichen - mit einem Notenkopf der gleichen (graphischen) Höhe übermalt [5]. Im Manuskript von "An baches ranft" finden sich zudem nach dem Doppelstrich am Ende Skizzen, die kaum anders denn als Versuche des Entwurfs mikrotonaler Versetzungszeichen zu deuten sind und ebenfalls verworfen wurden (siehe Abbildung 1). |
As is shown in the figures, in both cases Webern has already rejected the
microtones in these manuscripts by cancelling the appropriate notes again,
whereby in the first case he sketches an alternative to the small crosses,
without deleting, however, [4] the tone sequence e/f-sharp (not maintained in
the final version), and in the other case the small shorthand crosses - and
without an exact specification of the pitch by a sign - with a note-head of
the same (graphic) height over the old one [5]. Moreover, in the manuscript
of "At the brook's edge," we find at the end of the sketches after the double
bar that which is to be interpreted as none other than attempts at the design
of microtonal accidentals which were likewise rejected (see figure 1).
As shown in the figures, Webern already rejected the microtones in these handwritings by crossing out the appropriate notes. In the first case he sketches alternatively to the little crosses without corssing them out the tone sequence e - f-sharp (not maintained in the final version) and in the other case he simply overwrites the cross without an exact specification of the pitch by a sign - with a note-head of the same (graphic) height. Furthermore, in the manuscript of "On the edge of the creek" after the double line on the end can be found sketches, which are to be interpreted hardly differently than as attempts to design microtonal accidentals that were likewise rejected. | ||||||||||||||||||||||||||||||||
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[4] Ihre (graphischen) Positionen verweisen bereits auf die Töne e und dis (später es) der endgültigen Gestalt der Stelle. |
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[4] Their (graphic) positions refer already to the tones e and d-sharp (later e-flat) - the final form of the passage.
[5]
Westergaards Edition gibt diesen Ton originalgetreu als vorzeichenloses e wieder. Dass
es sich dabei um den einzigen vorzeichenlosen Ton der Edition handelt, ist auch
abgesehen von der Vorgeschichte eine mindestens bemerkenswerte Tatsache, die der
Herausgeber in seinen Anmerkungen jedoch ebensowenig kommentiert wie die
Vorgeschichte dieser Vorzeichenlosigkeit. Im Gegensatz dazu scheut er übrigens nicht
davor zurück, den wenigen weiteren im Manuskript vorzeichenlosen Tönen - teils
kommentiert, teils unkommentiert - Auflösungszeichen vorzuzeichnen. Ob diese
Leerstellen, wie Westergaard demnach offensichtlich vermutet, in allen Fällen nur auf
Nachlässigkeit zurückzuführen sind, bezweifle ich im übrigen, da es sich bei einigen
der entsprechenden Stellen um ungelöste Oktav- und/oder Stimmführungsprobleme
handeln dürfte.
|
[5]
Westergaard's edition shows this original tone faithfully as e without
an accidental. The fact that this therefore concerns the first tone of the
edition lacking an accidental is also (apart from the prehistory) at least a
remarkable fact which the publisher comments on in his notes, however, just
as little as the prehistory of these other lost markings. In contrast to
this, he incidentally did not shy away from the few tones lacking accidental
markings in the manuscript a bit further on, which he renders with natural
signs - some with comments and some without. Whether these lacking
accidentals are to be attributed in all cases only to carelessness, as
Westergaard thus obviously assumes, appears doubtful to me, since they agree
in the appropriate places with the unresolved octave - and/or the proper
handling of voiceleading problems.
| [5] Westergaard's edition shows this tone, as in the original version, as unsigned e. The fact, that this thereby is the only unsigned tone of the edition is, as well as the (pre)history an at least remarkable fact, which the publisher doesn't comment in it's notes as well as he doesn't comment the (pre)history of this "unsigned note". In contrast to it he's not afriad to mark the few tones without sign in front of it - partly commented, partly uncommented - with naturals. I doubt that these blank spaces, as Westergaard therefore assumes, are to be attributed in all cases only to carelessness, because it seems some cases could be unresolved octave and/or "voice-leading problems".
Ist die Tatsache der Existenz dieser bisher unbeachteten Mikrotöne schon
an sich bemerkenswert [6], so sind einige der sich im Zusammenhang damit
aufdrängenden Fragen noch interessanter: Um welche Mikrotöne oder Mikrointervalle
handelt es sich eigentlich? Welche Schlüsse lassen sich aus der Art ihrer
Notation ziehen? Wie und wann kommt Webern dazu, Mikrotöne zu setzen?
Warum und wann werden sie wieder eliminiert, und wie wirkt sich ihre
Eliminierung aus? In welcher Beziehung stehen sie zum theoriegeschichtlichen
Kontext, bei Webern und anderen Autoren? In welcher Beziehung stehen sie
zum werkimmanenten Kontext? In welcher Beziehung sie zum
Sprechgesang? Eine ausführliche Untersuchung dieses nur angedeuteten
Fragenkomplexes kann hier nicht erfolgen, doch erlaubt das Anführen einiger
Beobachtungen zumindest eine erste Annäherung.
|
If the fact of the existence of these unconsidered microtones
is already actually remarkable [6], then are still more
interesting some itself the questions forcing upon in the
connection with it: Which microtones or micro-intervals
does it actually concern? Which conclusions can be pulled
from the type of their notation? How and when is added
Webern to set microtones? Why and when they become again
eliminated, and as does their elimination affect itself?
In which relationship they are with the theory-historical
context, with Webern and other authors? In which relationship
are they with the work-immanent context? In which
relationship it with the speech-singing? A detailed
investigation of this only suggested complex of questions
can not take place here, but permits a stating of some
observations at least a first approximation.
| If the fact of the existence of these unconsidered microtones is already remarkable, then more interesting are some questions in connection with it: .... which conclusions can be taken/pulled from the type of their notation? How and when does Webern set microtones? Why and when are they eliminated and what effect has their elimination? In which relationship are they with the theory-historical context with Webern and other composers? ...
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| [6] Es ist durchaus anzunehmen, dass es sich hierbei um die frühesten Zeugnisse der bewussten Verwendung von Mikrotönen in der neueren europäischen Kunstmusik handelt. Um so erstaunlicher ist ihre bisherige konsequente Nichtbeachtung.
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| [6] It is to be quite assumed that it concerns here the earliest certifications of the conscious use of microtones in the newer European art music. Their past consistent neglect is the more amazing. [Translator's note: Richard H. Stein published the first quarter-tone score in 1906 with his Zwei Konzertstücke für violoncello und klavier.]
Was die konkret intendierten Tonhöhen bzw. Intervalle betrifft, ist aus
Weberns Formulierungen "zwischen f und e" usw. heraus der Gedanke an
Vierteltöne der naheliegendste. Zwar kann dagegen eingewandt werden, dass
"zwischen" nicht notwendigerweise "genau in der Mitte zwischen" bedeutet,
es ist jedoch kaum anzunehmen, dass Webern eine so allgemeine, den
Gedanken an die Mitte mindestens nahelegende Formulierung gewählt hätte,
hätte er ein anderes spezifisches Intervall gewollt. Eher noch könnte man
vermuten, Webern habe überhaupt keine spezifische Tonhöhe, sondern - ähnlich
dem Sprechgesang - nur einen relativ zwischen den beiden Halbtönen
liegenden Ton gemeint. Dagegen spricht u. a. die erwähnte Skizze zu
mikrotonalen Versetzungszeichen: Diese enthält ganz deutlich die mathematischen
Zeichen < und >, genau jene Zeichen also, die AS in einem Brief an
Busoni vom 1909/8/24 als diejenigen erwähnt, die er "seinerzeit" als
Versetzungszeichen für Vierteltöne "erdacht" habe [7]. Die von Webern tatsächlich
gewählte Notationsweise mit verbalen Anmerkungen ist verglichen mit der
Verwendung derartiger Versetzungszeichen denkbar umständlich, was damit
zu erklären sein dürfte, dass die mikrotonalen Stellen offensichtlich vor dem
Entwurf der entsprechenden Versetzungszeichen komponiert wurden. Dass
er letztere Notationsart trotz ihrer weitaus höheren Praktikabilität
offensichtlich nicht weiterverfolgt hat, hängt möglicherweise schon mit dem
gänzlichen Verzicht auf die Verwendung dieser Töne zusammen.
|
Which concerns the concretely intended pitches or intervals,
etc. is out the thought to quarter-tones the most obvious
from Weberns formulations "between f and e". It can be
in-turned against the fact that "between" not necessarily
"exactly in the center between" meant to however hardly
assume it is that Webern a so general, which at least
suggesting formulation would have selected thoughts to
the center would have he another specific interval wanted.
Rather still one could assume, Webern at all no specific
pitch, but - similarly the speech singing - only one relative
between both half-tones which is appropriate the tone had
meant. On the other hand among other things the mentioned
sketch speaks to microtonal accidentals: this contains quite
clearly the mathematical characters < and >, exactly those
characters thus, which mention Schoenberg in a letter at
Busoni from the 1909/8/24 as those, which he has "at that
time" as accidentals for quarter-tones "devised" [7]. The
notation way with verbal notes, actually selected by Webern,
is compared with the use of such accidentals conceivably
pedantic, which might have to be explained thereby that the
microtonal places were composed obviously before the design
of the appropriate accidentals. The fact that he did not
further pursue latter type of notation despite its by far
higher practicability obviously is connected possibly already
with the complete renouncement of the use of these tones.
| On the other hand could be ("said" --> opponent) that "between" doesn't necessarily mean "exactly in the center between", however, it is hard to assume that Webern would have selected such a general formulation, at least suggesting the thought of the center, if he would have wanted another specific interval. Rather could be assumed that Webern wasn't talking about a specific pitch but - similar to "speech-singing" - only a tone that is placed between two semitones. An argument against this opinion is (among others) the mentioned sketch about microtonal accidentals. It contains quite clearly the mathematical signs < and >, exactly those e/s/ch which Schoenberg mentioned in a letter to Busoni dated 1909.8.24 as those which he "devised" "at that time" as accidentals for quartertones. The way of notation actually selected by Webern, with verbal comments, is compared with the use of such accidentals conceivably pedantic which might has to be explained that the microtonal places were obviously composed before the design of the appropriate accidentals.
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| [7] "Briefwechsel zwischen Arnold Schönberg und Ferruccio Busoni 1903-1919 (1927)", hrsg. von Jutta Theurich, in: "Beiträge zur Musikwissenschaft", 19 (1977) 3, S. 163-211, S. 176 (im folgenden zitiert als: "Briefwechsel").
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| [7] "Briefwechsel zwischen Arnold Schönberg und Ferruccio Busoni 1903-1919 (1927)", hrsg. von Jutta Theurich, in: "Beiträge zur Musikwissenschaft" ["Exchanges of letters between Arnold Schoenberg and Ferruccio Busoni 1903-1919 (1927)", ed. of Jutta Theurich, in: "Contributions to musicology"], 19 (1977) 3, p. 163-211, p. 176 (in the following quotes as: "Exchanges of letters").
Zur Frage der Datierung des Auftauchens dieser Idee lassen sich einige
Hinweise namhaft machen: Webern hat selbst die George-Lieder als
Gesamtgruppe mit 1908/09 datiert. Da sich der Revisionsprozess eines Teils
dieser Lieder bis zu ihrer Veröffentlichung hingezogen hat, ist zwar nicht von
vornherein gesichert, dass die Vierteltöne bereits Bestandteil der ursprünglichen
Komposition waren, doch gibt es gewichtige Argumente, die dafür
sprechen: Dem Schriftbild nach [8] sind beide Manuskripte früh. Zudem
haben die unveröffentlichten George-Lieder, zu denen "Das lockere
saatgefilde..." gehört, keinen mit den anderen Liedern vergleichbaren
Revisionsprozess erlebt. Ein Indiz dafür, dass "An baches ranft" und "Das lockere
saatgefilde..." in unmittelbarer zeitlicher Nähe zueinander entstanden sein
dürften, ist die Verwendung des gleichen zwölfzeiligen Papiers für beide
Manuskripte, das sich sonst selten findet, nämlich nur bei "Im morgentaun"
und "Trauer I". Die frühen Manuskripte anderer George-Lieder teilen
dagegen die Papierformate mit Dehmel-Liedern von 1908, denen sie auch
in stilistischer Hinsicht noch viel näherstehen. Mit Vorsicht kann also
geschlossen werden, dass innerhalb der Entstehungsgeschichte der George-Lieder
die genannten vier eher zu den späteren gehören. Dieses philologische
Argument steht nur stellvertretend für viele weitere Argumente stilkritischer
Art, die angeführt werden könnten.
|
The question of the dating of emerging this idea some notes
can be made considerable: Webern dated even the George-songs
as total's group with 1908/09. Since the revision process
of a section of these songs up to its publication dragged
on, that the quarter-tones were already constituent of the
original composition, but gives it is not from the beginning
secured weighty arguments, which speak for it: the typeface
after [8] both manuscripts are early. Besides the unpublished
George-songs, to which "The loose seed-realms... " belongs,
experienced no revision process comparable with the other
songs. An indication for it that "At the brook's edge" and
"The loose seed-realms..." in direct temporal proximity
might have developed to each other, is the use of the same
twelve-lined paper for both manuscripts, which is otherwise
rare, only with "In morgentaun" and "Mourning I". The early
manuscripts of other George songs divide against it the
paper formats with Dehmel songs of 1908, those it also in
stylistic regard still much approaching marriages. With
caution it can be closed thus that within the emergence
history of the George songs the four mentioned belong rather
to the later. This philological argument is only
representatively of many further arguments of style-critical
type, which could be stated.
| To the question of dating the emerging of this idea some notes can be considered: Webern himself dated the George-songs as a total group with 1908/09. Since the revision process of a section of these songs dragged on till up to its publication, it isn't quite sure from the beginning that the quarter-tones already were part of the origiinal composition but there are some strong arguments which indicate that. According to the typeface/handwriting both manuscripts date from Webern's early years. Besides that, the unpublished George-songs, to which "The loose seed-realms..." belongs, experienced no revision process that could bwe compared with the other songs. An indication that "At the creek's edge" and "The loose..." might have developed at the same time is the use of the same 12-lined paper for both manuscripts, which is otherwise rarely found, used only with "Im Morgentaun" ["Morning Dew"] and "Mourning I". The early manuscripts of other George songs share the paper formats with Dehmel-songs from 1908, and in addition they are closer to them stylewise. With caution it can be assumed that within the evolution of the George songs the 4 mentioned ones rather belong to the later ones. This philological argument is just representative for many further arguments of style-critical type which could be stated in this article.
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| [8] Neben den im Fall der George-Lieder bisher in der Literatur genannten Argumenten für eine frühe Datierung - deutsche Schrift im Gesangstext, syllabische Notation der Gesangstöne, z.T. Neigung zur Auflösung gehaltener Klänge in übergebundene kleine Notenwerte (vgl. Elmar Budde, "Anton Weberns Lieder op. 3 - Untersuchungen zur frühen Atonalität bei Webern [Beihefte zum Archiv für Musikwissenschaft", Bd. 9], Wiesbaden 1971, S. 14 f. und Brinkmann, a.a.O., S. 42 f. und S. 47) - sei noch einmal die Respektierung der Georgeschen Originalgraphie in den frühen Manuskripten erwähnt.
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| [8] Apart from the arguments for an early dating - German writing in the singing text, syllabic notation of the singing tones, partly inclination to the dissolution of sounds held into over-bound small notenwerte (viz. Elmar Budde, "Anton Weberns Lieder op. 3 - Untersuchungen zur frühen Atonalität bei Webern [Beihefte zum Archiv für Musikwissenschaft" Bd. 9] ("Anton Weberns songs of op. 3 - investigations into the early atonality of Webern [supplements to the file for musicology" v. 9], Wiesbaden 1971, p. 14 f. und Brinkmann, a.a.O., p. 42 f. und p. 47) - specified in the case of the George songs so far in the literature, again respecting of the George ashes Originalgraphie is in the early manuscripts mentioned.
Dennoch dürften die Mikrotonstellen vor dem oder spätestens im Sommer
1909 entstanden sein, denn wir wissen aus dem bereits zitierten Brief an
Busoni, dass Schönberg zu diesem Zeitpunkt die Vierteltöne zumindest vorläufig
und als systematische übergelung wieder verworfen hat [9], und es ist
kaum anzunehmen, dass Webern mit seinem Lehrer in einer so wichtigen
Frage nicht konform gegangen wäre. Durch eine systematische übergelung
- so liesse sich hier einwenden - scheinen diese Vierteltöne angesichts ihrer
Exzeptionalität allerdings ohnehin nicht zustande gekommen zu sein. Trotzdem
gibt es auch mögliche Beziehungen zum theoriegeschichtlichen Kontext:
Die Möglichkeit von Mikrotönen ist in der deutschsprachigen Literatur
von Busoni erstmals 1907 theoretisch vorgestellt worden. [10] Der Frage der
Möglichkeit eines direkten Einflusses Busonis hier nachzugehen, würde zu
weit führen. Bemerkenswert ist diese zeitliche Nähe allemal. Ein anderer
theoriegeschichtlicher Zusammenhang könnte mit der Konstitution der
Atonalität, die sich bei Webern ebenfalls mit den George-Liedern vollzieht [11],
bestehen: Vor dem Hintergrund der Konjunktur, die die Ganztonlieter um
1905/06 bei Webern wie bei Schönberg erlebt, erscheint die - zumindest
potentiell - äquivalente Verwendung des gesamten chromatischen Tonmaterials
in Diachronie wie Synchronie retrospektiv wie eine überlagerung der
beiden voneinander gleich weit entfernten Ganztonskalen. Die Hypothese,
Webern habe an eine überlagerung zweier gleich weit voneinander
entfernter chromatischer Skalen als logischen nächsten Schritt gedacht, ist,
wenn schon nicht nachprüfbar, mindestens eine faszinierende Spekulation. [12]
|
Nevertheless the microtone places might have developed
at the latest before that or in the summer 1909, because
we know from the letter already quoted at Busoni the
fact that Schoenberg rejected the quarter-tones
at this time at least provisionally and as systematic
uebergelung again [9], and it is to hardly assume that
in a so important question would not conformal have gone
to Webern with his teacher. By systematic {uebergelung}
- could thus be objected here - to seem these
quarter-tones in view of their exceptionality however
anyway not to have come. Nevertheless there is also
possible relations with the theory-historical context:
The possibility from microtones was theoretically
presented for the first time in the German-language
literature by Busoni 1907. [10] the question of the
possibility of a direct influence Busonis to follow
here, too far would lead. Remarkable always is this
temporal proximity. Another theory-historical connection
could exist with the constitution of the atonality, which
likewise carry out themselves with Webern with the
George-songs [11]: Before the background
of the economic situation, which experiences the
whole-tone-scale around 1905/06 with Webern as with
Schoenberg, - at least potentially - the equivalent use
of the entire chromatic tone material in Diachronie
appears retrospective such as Synchronie like an overlay
of the two from each other complete tone scales removed
equivalent far. The hypothesis, Webern thought of an
overlay of two equal far from each other distant
chromatic scales as logical next step, is, if already
not verifiably, at least a fascinating speculation. [12]
| Nevertheless, the microtones might have been developed before or at the latest in the summer of 1909 because from the letter to Busoni (already quoted) we know that Schoenberg rejected the quarter-tones again at this time, at least provisionally, as a systematic *uebergelung* and it is hard to assume that Webern wouldn't share the same opinion as his teacher in such an important question. It could be aruged/objected here that - by systematic *uebergelung* - it seems that those quareter-tones however weren't develped anyway because of their exceptionality. Nevertheless, there exist also possible connections/relations with the historical context: the possibility of microtones was presented in German-language literature by Busoni for the first time in 1907. To take a closer look if Busoni could have been a direct influence would be too much here. But this temporal proximity is remarkable. Another theory-historical connection could exist with the constitution of atonality which happens also with Webern and the George-songs: the whole-tone-scale was used more often than before in 1905-06 by Webern and Schoenberg. So the - at least potential - equivalent use of the entire chromatic tone material in diachrony as synchrony appears retrospective like an overlay of two equidistant whole-tone-scales. To assume that Webern possibly thought/considered an overlay of two equidistant chromatic scales as logical next step is, if not verifiable, at least a fascinating speculation.
------------
| [9] Schönberg schreibt, er sei "jetzt der Ansicht, dass diese Sache auf einem anderen Wege, als auf dem der Konstruktion, kommen wird" ("Briefwechsel", S. 176). Untersuchungen darüber, in welchem Zeitraum und in welcher Weise sich Schönberg und sein Schülerkreis mit dem Thema Mikrotöne auseinandergesetzt haben, sind Desiderata künftiger Forschung.
------------
| [9] Schoenberg writes, it is "now the opinion that this thing on another way, than on that the construction, will come" ("Correspondence", p. 176). Investigations on it, in which period and in which way Schoenberg and his pupil-set argued with the topic of microtones, are Desiderata of future research. [9] Schoenberg writes he "thinks now that this thing is going to go another way than the 'way of construction'". Investigations of in which period and how Schoneberg and his students were occupied with the topic microtones, are desiderata of future research.
[10]
Ferrucio Busoni, "Entwurf einer neuen ästhetik der Tonkunst" (1907). In der zweiten,
erweiterten Ausgabe von 1916 (Leipzig) findet sich die einschlägige Passage über
Drittel- und Sechsteltöne als erster Schritt der Annäherung an ein anzustrebendes noch
umfassenderes Tonsystem auf S. 42 ff.
| [10]
[10]
Ferrucio Busoni, "Sketch of a new aesthetic of music" (1907). In the
second, enlarged edition of 1916 (Leipzig) is located the pertinent passage
over third- and sixth-tones as first step of the approach at an {anzustrebendes}
still more extensive Tonsystem on p. 42 ff.
| [10] Ferrucio Busoni, "Sketch of a New Aesthetic of Tone-Art [= music]" (1907). In the second, enlarged edition of 1916 can be found the pertinent passage about third- and sixth-tones as first step to approach the goal to which he was striving, the more extensive tone system on p. 42 ff. [Translator's note: Stein included theoretical information about his use of quarter-tones only in the second edition of his Zwei konzertstücke, in 1909.]
[11]
Die akademische Diskussion darüber, inwieweit man die George-Lieder in dieser
Hinsicht als Wendepunkt nehmen kann, sei hier ausser acht gelassen.
|
[11]
The academic discussion over it, to what extent one can take the
George songs in this regard as turning point, is here ignored.
| [11] The academic discussion if, to what extent the George songs can be taken as turning point in this regard, is here ignored.
[12]
Auch hierin ergäbe sich eine gewisse Parallele zu Busoni, der die Sechsteltonskala als
überlagerung zweier gleich weit voneinander entfernter Dritteltonskalen entwirft
(Busoni, a.a.O., zweite Ausgabe 1916, S. 43).
|
[12]
Also herein a certain parallel would result with Busoni, that the
sixth-tone-scale as overlay of two equidistant third-tone-scales
sketches (Busoni, a.a.O., second edition 1916, p. 43).
| [12] Also here could be seen a certain parallel with Busoni, who sketched the sixth-tone-scale as overlay of 2 equidistant third-tone-scales. [Translator's note: this conception of microtonal scales which were multiples of 12 later became an important aspect of the theories of both Haba (1927) and Wyschnegradsky (1972).]
Die Exzeptionalität der Mikrotöne in beiden Liedern steht in einer deutlichen
Beziehung zur Besonderheit der jeweils umgebenden Satzsituation.
In Takt 10 f. von "An baches ranft" hören wir eine den Kontext des sonst vierbis
sechsstimmigen akkordischen Satzes deutlich kontrastierende Geste, ein
den Ambitus der Komposition [13] zeitlich konzentrierendes Arpeggio, in dessen
Zentrum die Gesangslinie steht. Diese ist sozusagen sein mikroskopisches
Abbild: Anstieg und Abfall, reduziert auf den engsten Raum, wobei die frühe
Viertelton-Version die Tendenz des Arpeggios, nicht wieder in die tiefe
Region des Beginns zurückzusinken, mitvollzieht. Auffällig ist die bedenkliche
Nähe, in der die unmittelbaren temperierten Nachbartöne der Vierteltöne,
denen sie später angeglichen werden, im Klavierpart vorkommen. Eine
vergleichbare klimaktische Situation finden wir auch in Takt 6 von "Das
lockere saatgefilde...": eine heftig auffahrende Geste, einstimmig in
Instrumentationsoktaven im bis dahin oktavenlosen Satz, die wieder in zeitlich
komprimiertester Form den bisher weitesten Ambitus durchmisst und
dergestalt den mehrdimensionalen Höhepunkt der folgenden Takte vorberetet.
Die Vierteltöne fungieren also in beiden Fällen, wenn auch in unterschiedlicher
Weise, als formale Markierung. Zudem stehen sie möglicherweise in
Beziehung zur in den George-Liedern generell wirksamen Idee der Axialsymmetrie,
indem sie die Tendenz zur diachronen wie synchronen Konzentration
tonaler Dichte im zentralen Tonbereich bei symmetrischer
Ausdünnung nach den Rändern hin fortsetzen. Diese Tendenz könnte der Schlüssel
zur Erklärung des Vorkommens von Vierteltönen nur im Bereich zwischen
es1 und f1 und als vordergründig unsystematische Ausnahmeerscheinung sein.
So bewegt sich die Singstimme in den ersten melodischen Phrasen von "Das
lockere saatgefilde..." stets in einem sehr engen Tonbereich von einigen
aneinanderliegenden Halbtönen, während die mit Takt 5 erreichten Extremtöne
cis2 und c1 schon eine Terz vom Mittelfeld der entsprechenden Phrase
entfernt sind. Im axialen Zentrum dieser Felder mag - zumindest nach Weberns
Empfinden - tatsächlich der Viertelton zwischen e1 und f1 stehen. Eine
genauere Untersuchung der Tonhöhenorganisation beider Lieder könnte wohl
einiges zur Klärung der Bedeutung dieser Mikrotöne beitragen.
|
The exceptionality of the microtones in both songs is in a clear
relationship with the special feature of the record situation
surrounding in each case. In measure 10 f. of "Brook ranft" we
hear the context on otherwise four- to six-part chords
record clearly contrasting gesture, an arpeggio concentrating
temporally the ambitus of the composition [13], in whose center
the singing line is located. This is as it were its microscopic
image: Rise and waste, reduce to the closest space, whereby the
early quarter-tone-version goes through with the tendency of the
arpeggios not to back-sink again into the deep region of the
beginning. Remarkably the precarious is proximity, in which occur
the neighbour tones the direct tempered
of the quarter-tones, to which later they are adapted, in the
piano part. We find a comparable climactic situation unanimous
also in measure 6 of "The loose seed-realms...": a violently
driving gesture, in instrumentation instrumentationsoktavenless
in the up to then ess record, which vorberetet again in temporally
most compressed form the furthest ambitus through-measured and
such the multidimensional high point of the following measures.
The quarter-tones function thus in both cases, although in
different way, as formal marking. Besides they possibly are in
relationship with the idea of the axial symmetry generally
effective in the George songs, by continuing the tendency to
diachronous like synchronous concentration the tonal density in
the central tonal compass with symmetrical thinning out toward the
edges. This tendency could be the key to the assertion of the
occurrence of quarter-tones only in the area between es1 and
f1 and as vordergruendig unsystematical exception appearance.
Thus always moves the vocal part in the first melodic cliches
of "The loose seed-realms..." in a very close tonal compass of
some closed-up half-tones, while the extreme tones c-sharp2
and c1 achieved with measure 5 are distant already a third from
the center zone of the appropriate cliche. In the axial center
of these fields - at least after Webern's feeling - actually
the quarter-tone between e1 and f1 may be located. A more
exact investigation of the pitch organization of both songs
could probably contribute some to clarifying the meaning of
these microtones.
| The exceptionality of the microtones is in both songs clearly related with the special feature/specialty of the surrounding case/sentence situation. [The 1/4-tones occur in special moments of the poem.] In measure 10 of "At the edge of the creek" can be heard a clearly contrasting gesture of the context which is built on a 4-6 part chords, an arpeggio concentrating temporally the ambitus of the composition, in whose center the vocal part is located. It (the vocal part) is its microscopic image, rise and fall, reduce to the closest space, whereby the early quarter-tone version is "doing" the same tendency as the arpeggio, it doesn't sink back again into the deep region of the beginning. remarkablhy is the proximity in which the neighbor-tones of the quarter-tones , to which they later are adapted, occur in the piano part. [the 1/4-tones are close to the pinao notes but not exact - later, the 12edo version of the vocal was even closder to the piano part.] A comparable climatic situation can be found in measure 6 of "The loose seed-realms...", a violently driving gesture, in instrumentation/harmony with instrumentation-octaves in the before-octaveless measures/sentence, which are again in temporally most compressed form, measures the furthest ambitus so far and such prepares for the mulitdimensional high point of the following measures. The quareter-tones function in both cases, altho in different ways, as formal marking. Besides that, they possibly are in relationship with the idea of the axial symmetry generally effective in George-songs, by continuing the tendency to dachrone like synchronous concentration of tonal density in central "tone-volume" with symmetrical thinning out toward the edges [more notes are clustered in the center of the total pitch-space]. This tendency could be the key for the explanation of the occurrence of quarter-tones only in the area bertween e-flat and f and as *vordergruendig* [= to be in the front] unsystematical exception appearance. [the 1/4-tones may be the exact center of a symmetrical pitch structure.] Thus the vocal part in the first melodic motive of "the loose seed-realms..." steady in a very close pitch-space of some closed-up semitones, while the extreme tones c-sharp-2 and c-1 achieved with measure 5, are already distant a thrid from the center-zone of the appropriate motive. In the axial center of these fields may be - at least after Webern's feeling - actually located the quarter-tone between e-1 and f-1. A more exact investigation of the organization of the pitches of both songs could probably contribute to clarifying the importance of these microtones.
------------
| [13] Gerade dieser ist von den Revisionen betroffen: Neben der erwähnten Streichung der Basstöne (bemerkenswerterweise belässt Webern ausgerechnet die von T. 9 f.) ist auch die Oktavierung des ursprünglichen e3 in T. 11 nur eine Bleistifteintragung. Ob es einen direkten Zusammenhang zwischen diesen Revisionen und der Eliminierung der Mikrotöne gibt, wäre zu prüfen.
------------
| [13] Even this is affected by the revisions: apart from the mentioned cancellation of the bass notes (remarkably Webern calculated the leaves by m. 9 f.) also the {Oktavierung} of the original e3 is in m. 11 only one pencil entry. Whether there is a direct connection between these revisions and the elimination of the microtones, would be to be checked. [13] Exactly this is affected by the revisions: apart from the mentioned cancellation of the bass notes (remarkably Webern leaves/keeps the ones from m. 9 f.) also the octaves of the original e3 in m. 11 is only a pencil entry. If there is a direct connection between these revisions and the elimination should be checked.
In welcher Beziehung zum theoriegeschichtlichen und werkimmanenten
Kontext diese Mikrotöne auch immer stehen mögen, feststehen dürfte, dass
sie in Weberns Entwicklung ein ephemeres Phänomen des Frühlings oder
Frühsommers 1909 darstellen. Allein hierin schon ähneln sie dem von
Webern 1913 zwar verwendeten, nie aber veröffentlichten Sprechgesang.
Dass solcher jene in "An baches ranft" als Zwischenlösung vor dem völligen
Verzicht kurzfristig ablöst [14] und dass Mikrotöne wie Sprechgesang gleich
notiert sind, legt die zu überprüfende überlegung nahe, ob letzterer -
abgesehen von den anderen historischen Wurzeln, die er unzweifelhaft hat -
auch Abfallprodukt der Mikrotöne sein könnte. Als völlig marginal sind beide
Experimente jedenfalls nicht abzutun, da sie das Bild Weberns als des
sorgsam abwägenden Organisators klarer Tonhöhenverhältnisse zugleich
relativieren und bestätigen.
|
In whatever relationship with the theory-historical and
work-immanent context these microtones may always
be, it might be certain that they represent an ephemeral
phenomenon of spring or early summer in Webern's
development 1909. However herein they already resemble
from Webern 1913 used, never however published
speech-singing. The fact that such replaces those at
short notice on in "Brook ranft" as temporary solution
before the complete renouncement [14] and that
microtones are notated like speech-singing puts
the consideration which can be checked close whether
the latter - apart from the other historical roots, which
it unquestionably has - could also be waste products of the
microtones. As completely marginal are not
both experiments anyhow {abzutun}, since they relate and
acknowledge the picture Webern's at the same time as
the carefully weighing supervisor of clear pitch intervals.
| In whatever relationship with the theory-historical and work-immanent context these microtones may be, it may/might be certain that they represent an ephemeral phenomenon in Webern's developpment in spring or early summer 1909. Even in this case they already resemble the speech-singing Webern used but never published in 1913. The fact that he replaces those temporarily in "At the edge..." as short notice before the complete renouncement , and that microtones are notated the same way like speech-singing puts the consideration ("close/up") to check if the last mentioned ones [the speech-singing] - apart from the other historical roots, which it unquestionably has - could also be a waste product of the microtones. Both experiments cannot be considered marginal because they relativate and acknowledge the picture of Webern as a carefully weighing organizer of clear pitch intervals. [despite their fleeting occurence in his work, Webern's use of microtones cannot be considered marginal because it led to sprechstimme; Schweiger considers that both sprechstimme and microtones betray Webern's interest in pitch structure.]
------------
| [14] Es ist vermutlich das erste Mal, dass Webern Sprechgesang einsetzt, möglicherweise sogar vor Schönbergs "Pierrot Lunaire", gar vor dem Melodram in den "Gurre-Liedern".
------------
| [14] It is probably the first time that Webern speech-singing begins, possibly even before Schoenberg's "Pierrot Lunaire", before the melodrama in the "Gurrelieder". |
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