Pierre Boulez

SCHOENBERG HAS DIED1

(taken from Towards a Musical Aesthetics,
Caracas, Mount Ávila, 1992, pp. 255-261

Take a position regarding Schönberg?

Undoubtedly, it is one of the most urgent needs; however, it is a false problem.
which disposes of sagacity; it is, perhaps, an investigation without a satisfactory outcome.

It would be pointless to deny it: the Schönberg -case- is, above all, irritating, for what it contains of flagrant

incompatibilities.
Paradoxically, the essential experience that constitutes his work is premature in the sense
the same in which it lacks ambition. Willingly, this proposition could be reversed by saying that
the most demanding ambition manifests itself where the most outdated indices appear. One must believe
that in this greater ambiguity lies a misunderstanding full of unease at the origin of the
more or less conscious, more or less violent hesitations experienced in front of a work of the
which, despite everything, the need is perceived.
With Schönberg, we witness one of the most significant disruptions that language has undergone.
musical. Undoubtedly, the material itself does not change: the twelve semitones. But it is
questioned the structure that organizes this material: from the tonal organization we move to the
serial organization. How did this notion of series arise? At what moment in Schönberg's work
Where is it located? What type of deductions is it the result of? Following this genesis, it would seem that we ...

we approach the revelation of some irreducible divergences.

First of all, let's say that Schönberg's discoveries are essentially morphological. This
evolutionary progression part of the post-Wagnerian vocabulary to reach a 'Suspension' of
tonal language. Although in the Transfigured Night, in the first Quartet, opus 7, in the Symphony of
camera, very clear trends can be perceived, one is just witnessing a true rehearsal of
take off with some pages from the Scherzo and the Finale of Quartet Opus 10. All the works that
we have just quoted are, therefore, in some way, preparations. Currently, we can

1
Originally published in Score, May 1952. Later expanded and included in Relevés d' apprenti, Paris,
Editions du Seuil, 1966.
allow us to observe them especially from a documentary point of view.
The suspension of the tonal system occurs effectively in the Three pieces for piano that
they constitute opus 11. Then the searches adopt an increasingly penetrating sharpness and
culminate in the resonant lunar Pierrot. In the writing of these scores, we observe three
notable phenomena: the principle of permanently effective variation, that is, non-repetition;
the preponderance of the 'anarchic' intervals —which present the greater tension in relation to
tonal world —and the progressive elimination of the tonal world par excellence: the octave; a
expresses concern about constructing contrapuntally.
There is already divergence —if not contradiction— in these three characteristics. The principle of variation is
It adapts poorly, in effect, to a rigorous, even scholastic, contrapuntal writing. In the canons
exactly, in particular, where the consequent reproduces the antecedent verbatim —the figures
sounding like rhythmic figures—there is a great internal contradiction. If, on the other hand,
these canons are presented in the octave, the extreme antagonism of a succession is conceived
horizontal elements governed by a principle of tonal abstention, while the control
vertical highlights the strongest tonal component.
However, a discipline is taking shape that will be fruitful in its consequences; we retain very
especially the possibility, still embryonic, of a passage from a succession of intervals
horizontal to vertical and vice versa; the separation of the given notes from a thematic cell of
the rhythmic figure that has originated them, thus turning this cell into a succession of intervals
absolutes (if this term is used in its mathematical sense).
Let us return to the use of the intervals that we have called "anarchic". In the works of this period
we often find consecutive fourths of diminished fifths, prolonged major thirds
by major sixths and all the investments or interpolations that can be experienced on
these two figures. Here we observe the preponderance of intervals -if the development is horizontal- or of
chords -if arranged vertically- that are the least reducible to classical third harmony
overlapping. On the other hand, let us note the great abundance of disjoint devices of which
it results in an stretching of the record, and also an importance attributed to the absolute height of a
sound, which until then had barely been suspected.
Such use of sound material raised a certain number of aestheticizing explanations that
were used as requisitions or as a benevolent argument that nonetheless excluded any idea of
generalization. Schönberg himself referred to this topic in a way that allows us to talk about
expressionism: 'In my early works of the new style, what has particularly guided me and in
In formal elaboration, it has been primarily about strong expressive licenses, but also, and not in
last instance, a sense for form and the logic inherited from tradition and well-educated by the
application and consciousness.
This quote spares all unnecessary gloss and one can only agree with this first trajectory, where the
musical thinking expresses an interdependence, a balance regarding the searches
considered from the unique formal point of view. In short, aesthetics, poetics, and technique are in phase - if

we are once again allowed a mathematical comparison—, whatever the failure that may occur
discover in each of these areas. (We deliberately refrain from any consideration
on the intrinsic value of post-Wagnerian expressionism.)
It would seem that in the succession of these creations that begins with the Serenade, Opus 24, Schönberg

is overwhelmed by his own discovery, being able to place the no man's land
nobody] of rigor in the Five Pieces for Piano of opus 23.
Limit point of equilibrium, this opus 23 is the inaugural manifesto of serial writing in which we
the fifth piece begins - a waltz: it is comfortable for anyone to meditate on this encounter very
"Expressionist" of the first dodecaphonic composition with a typical product of Romanticism
German ("Prepare for him with serious immobilities-, Satie could have said).
We are therefore in the presence of a new organization of the sound world. Organization still
rudimentary that will be encoded mainly from the Suite for piano, opus 25, and the Quintet of
winds, opus 26, to reach a conscious schematization in the Variations for orchestra, opus
31.
We can bitterly reproach Schönberg for this exploration of the twelve-tone field, for it has
has been conducted with such persistence in the contradiction, that it will be difficult to find in the
historyofmusicaperspectives.owrong.
We do not assert this for free. Why?
We do not forget that the establishment of the series comes, in Schönberg, from an ultrathemesization.

where, as we said before, the intervals of the theme can be considered as

absolute intervals, detached from all rhythmic or expressive obligation. (The third piece of opus 26,
developing over a succession of five notes, is particularly significant in this sense.
We must admit that this ultra-thematization remains underlying in the idea of desert which
it is nothing but the refined culmination. Moreover, in Schönberg's serial works, the confusion
between the theme and the series it is sufficiently explicit of its impotence to glimpse the universe
sound that calls the series. The twelve-tone technique consists then only of a rigorous law for
control the chromatic writing; as it fulfills nothing more than the function of a regulating instrument,
The serial phenomenon went, so to speak, unnoticed by Schönberg.
What was, above all, his ambition, once the chromatic synthesis was established by the series - in
other terms, this adopted safety coefficient? Create works of the same essence as those of
sound universe just abandoned, where the new writing technique "will provide evidence of its
aptitudes." But could this new technique reach convincing results if it was not taken into account the
Annoyance of searching for the field specifically serial of the structures? And we understand the word.
structure from the generation of the component elements to the global architecture of a
work. In summary, what has generally been absent from Schönberg's concerns
it is a logic of spawning between the serial forms proper and the structures
derivatives.
This is what seems to cause the expiration of most of his serial work. Because
the pre-classic or classic forms that govern most of their architectures are not
historically linked to the discovery of dodecaphonic music, an unacceptable hiatus occurs between
infrastructures incorporated into the tonal phenomenon and a language where it is still perceived summarily

the laws of organization. Not only does the proposed project fail: that is to say, that such a
language is not consolidated by its architectures; rather, the opposite event is observed:
these architectures annihilate the possibilities of organization included in this new language. There are
two worlds that are incompatible, and one has been tried to justify by the other.
This method cannot be considered valid; and has led to results that could
preverse: the worst misunderstanding. A 'twisted romantic classicism' where goodwill does not
it is the least disposable. Little credit was given to the serial organization denying its
own methods of development to replace them with other seemingly safer ones. Attitude
reactive that left the door open to all more or less embarrassing survivals. No
we will stop finding them.
For example, the persistence of the accompanied melody; of a counterpoint based on a
main part and in secondary parts (main voice and secondary voice). Willingly
we would say that we are facing one of the least fortunate inheritances due to the
hardly defensible sclerosis of a certain bastard language adopted by Romanticism. Not
it is not only in these outdated conceptions, but also in the writing itself where
we perceive the reminiscences of an abolished world. Indeed, under the pen of Schönberg
abundantly — without creating irritation — the terribly stereotyped writing clichés,
representatives, there too, of the most ostentatious and outdated romanticism. We want to talk about
these permanent anticipations with expressive support on the real note; we want to point out these
false support notes; also, these formulas of arpeggios, of repetitions, that sound terribly
hollow and completely worthy of their designation as "secondary parts". Let's point out
finally the tiresome and bland use of an absurdly poor rhythm, even unpleasant,
where certain tricks of variation regarding classical rhythm are disconcerting due to their
goodness and its ineffectiveness.

How could we then adhere flawlessly to a work that expresses such contradictions, such
Contradictions? Yes, it would still manifest with a rigorous technique, the only safeguard! But what
think of Schönberg's American period where the greatest disorder arises, the
more deplorable demagnetization? How could we judge, if not as a supplementary index —and
superfluous— this lack of understanding and cohesion, this re-evaluation of polarizing functions and
even of tonal functions? By then, the rigor in writing has been abandoned. We see a resurgence
the intervals of the octave, the false cadences, the exact canons to the octave. Such an attitude reaches
a maximum incoherence that is, moreover, nothing but the paroxysm, to the absurd, of the
incompatibilities of Schönberg. Hasn't it led to a new methodology of language?
musical just to try to restore the old one? A monstrous deviation of misunderstanding
leaves us perplexed: in the Schönberg 'case' there is a disconcerting 'catastrophe' that will undoubtedly continue

being exemplary.
Could it be otherwise? It would be naive arrogance to respond negatively now. Without
embargo, it is possible to discern the reason why Schönberg's serial music was doomed to
a failure. Firstly, the exploration of the serial field has been conducted unilaterally: there
The rhythmic plane is missing, and even the sound plane itself: the intensities and the attacks.
Who could reproach it without falling into ridicule? Let us instead point out a remarkable
concern in the bells, with the Klangfarbenmelodie [melody of bells] that, for
generalization can lead to the series of bells. But the essential cause of failure lies in the
deep ignorance of the serial FUNCTIONS proper, generated by the
very principle of the series. With this we want to say that the series intervenes in Schönberg as a
small common denominator to ensure the semantic unity of the work; but that the elements
The language obtained in this way is organized by a preexisting, non-serial rhetoric. It is
there, we believe we can affirm it, where the provocative INEVIDENCE of a work without manifests
intrinsic unit. This inevitability of the serial field in Schönberg has generated enough disaffection
The prudent escapes are such that a clarification is necessary.
We do not intend to display a joyful demonism, but rather to express common sense.
banal declaring that, after the discovery of the Viennese, every composer is useless outside of
serial searches. We cannot be answered in the name of a supposed freedom (what not
it means that every composer will be useful in the opposite case) for this freedom has a strange
survivor aspect of servitude. If the Schönberg failure exists, it is not by covering it up that
a valid solution to the problem posed by the epiphany of a language may be sought.
contemporary. Perhaps we should first dissociate the serial phenomenon from the work of
Schoenberg. Both have been confused with a visible pleasure, with a malice often misunderstood.
disguised. It is easily forgotten that a certain Webern has also worked; it is true that he is hardly
have you heard about (the screens of mediocrity are so thick!}. Perhaps it could be said that the series
it is a logically historical consequence —or historically logical, as you prefer. Perhaps it could
to seek, like this such Webern, the SOUND EVIDENCE exercising itself in a birthing of the
structures based on the material. Maybe the serial scope could be expanded to other intervals than the
semitone: micro-distances, irregular intervals, complex sounds. Perhaps it could be generalized the
the principle of the series to the four sound components: pitch, duration, intensity, and attack,
timbre. Perhaps... perhaps... one could demand some imagination from a composer, a certain dose of
asceticism, also a bit of intelligence, a sensitivity, finally, that does not evaporate with the
less air flow.
Let us be careful not to consider Schönberg as a kind of Moses who dies facing the Earth.
Promised, after having brought the Tablets of the Law from a Sinai that some would like
stubbornly confuse with Valhalla. (During this time, the dance for the Golden Calf is in
its height.) We probably owe him Pierrot Lunaire... and some other works something more than
envy-inducing. Despite the surrounding mediocrity that very deceitfully would like to limit the
damages to the 'Central Europe'.
However, it is essential to eliminate a misunderstanding full of ambiguity and
Contradiction: it is time for failure to be neutralized. In this clarification, no one participates.
a gratuitous boastfulness like a blessed futility, but a rigor free of weakness or
commitment. Therefore, we will not hesitate to write, with no intention of stupid scandal,
but also without prudish hypocrisy or useless melancholy:

SCHOENBERGHASDIED