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「Variations for Orchestra, Op. 30」을 中心으로 한 Webern의 作品 Style 硏究
李英敏 漢陽大學校 音樂硏究所 1984 音樂論壇 Vol.1 No.-
Twelve-tone composition was initiated in 1923 by Arnold Schoenberg (1874-1951), the founder of the modern Viennese school. His pupils, Alban Berg (1885-1935) and Anton Webern (1883-1945), were deeply influenced by Schoenberg's music and philosophy. But Berg's twelve-tone music reflects the romantic spirit, while Webern's works emphasize the classic features of order, symmetry and balance. In 1924 Webern wrote ?? for piano, his first composition based on a twelve-tone series. After that time, Webern never returned to the non-twelve-tone practice. With his unique method of controlling rhythm, tone-color and dynamics Webetn opened the new direction in the twelve-tone compositions. Webern's works are divided into three periods. The first period contains two works of late romantic chromaticism. The second period presents atonal music. From Five Songs by the Poems of S.George, Op.3 (1909), the key signature is omitted in the score; the second period is also characterized by short forms and new sonorities. From 1924 Webern's third period began; from three vocal pieces in Op. 17 to his last work, Cantata, Op. 31 belong to this period. To observe distinctive stylistic aspects in Webern's twelve-tone music, Variations for Orchestra, Op. 30 (1941) is chosen for this paper. Fist, the formal structure of the piece is analyzed according to Webern's own statement about this work; the structure of the original row and its application are examined in details. The analysis of rhythmic manipulation and chord texture is also provided.