The Second Viennese School, led by Arnold Schoenberg and his pupils Alban Berg and Anton Webern, is renowned for its pioneering work in atonal music. Here are some notable examples of free atonality from their compositions:
This song cycle is one of Schoenberg’s most famous atonal works. It employs a technique called “Sprechstimme” or spoken singing, and the music lacks a clear tonal centre, using the notes of the chromatic scale independently.
These pieces are early examples of Schoenberg’s atonal style, characterised by the absence of a tonal centre and the use of dissonant harmonies.
Although Berg’s opera incorporates some tonal elements, it is largely atonal. The music uses atonal techniques to depict the psychological turmoil of the characters, blending traditional tonality with atonal passages.
These pieces are also examples of Berg’s atonal work, showcasing his ability to blend atonal and tonal elements.
Webern’s work is known for its brevity and precision. These pieces are atonal and exemplify his use of concise musical forms and fragmentary gestures.
These bagatelles are extremely short and atonal, characterised by Webern’s meticulous attention to detail and economy of musical material.
These compositions illustrate the Second Viennese School’s exploration of atonality, breaking away from traditional tonal structures and paving the way for modern and contemporary classical music.
Arnold Schoenberg’s freely atonal pieces and his twelve-tone technique works represent two distinct phases in his compositional evolution, each with unique characteristics and approaches to atonality.
Schoenberg’s freely atonal compositions, created roughly between 1908 and 1923, are characterised by their lack of a tonal centre and traditional harmonic structures. These pieces do not adhere to a specific system or method for organising pitches. Instead, they explore dissonance and chromaticism without the constraints of a key. Examples include:
“Three Piano Pieces, Op. 11” (1909): These pieces are among Schoenberg’s earliest atonal works, marked by their use of dissonant harmonies and the absence of a tonal centre.
“Five Pieces for Orchestra, Op. 16” (1909): These pieces continue the exploration of atonality, focusing on texture and timbre rather than harmonic progression.
In these works, Schoenberg sought to break free from the traditional tonal system, allowing for more expressive freedom and emotional intensity.
However, this freedom also led to a lack of structural coherence, which Schoenberg later sought to address.
Around 1923, Schoenberg developed the twelve-tone technique, also known as dodecaphony, to provide a more structured approach to atonal composition.
This method involves creating a tone row, an ordered sequence of the twelve pitches of the chromatic scale, which forms the basis for the composition.
The rules of the twelve-tone technique ensure that all twelve notes are used equally, avoiding any emphasis on a single pitch. Key features include:
Tone Rows: The primary structure is the tone row, which can be manipulated through inversion, retrograde, retrograde inversion, and transposition.
Equal Treatment of Pitches: All twelve pitches are given equal importance, preventing the establishment of a tonal centre.
Structural Coherence: The technique provides a systematic way to organise pitches, offering a sense of unity and coherence throughout the piece.
Examples of Schoenberg’s twelve-tone works include:
“Suite for Piano, Op. 25” (1923–1925): One of the first pieces where Schoenberg fully employed the twelve-tone technique.
“Variations for Orchestra, Op. 31” (1926–1928): This work demonstrates the mature application of the twelve-tone method, with complex manipulations of the tone row.
Freedom vs. Structure: Freely atonal pieces are characterised by their lack of pre-determined structure, allowing for more spontaneous and expressive compositions. In contrast, twelve-tone works are highly structured, with the tone row providing a framework for the entire composition.
Pitch Organisation: In freely atonal pieces, pitches are used without a specific order, leading to a more chaotic and unpredictable sound. The twelve-tone technique imposes a strict order on the use of pitches, ensuring that all twelve tones are treated equally.
Compositional Control: The twelve-tone technique offers composers greater control over the musical material, allowing for more complex and cohesive compositions. Freely atonal works, while expressive, can sometimes lack this level of control and coherence.
In summary, Schoenberg’s freely atonal pieces and twelve-tone technique works represent two different approaches to atonality, each with its own set of principles and compositional strategies.
The transition from free atonality to the twelve-tone method marks Schoenberg’s quest for a balance between expressive freedom and structural coherence in his music.