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Schoenberg’s Musical Imagination

No composer was more responsible for changes in the landscape of

twentieth-century music than Arnold Schoenberg (1874–1951), and no
other composer’s music inspired a commensurate quantity and quality of
technical description in the second half of the twentieth century. Yet there is
still little understanding of the correlations between Schoenberg’s musical
thought and larger questions of cultural significance in and since his time:
the formalistic descriptions of music theory do not generally engage larger
questions in the history of ideas, and scholars without an understanding of
the formidable musical technique are ill-equipped to understand the music
with any profundity of thought. Schoenberg’s Musical Imagination is
intended to connect Schoenberg’s music and critical writings to a larger
world of ideas. While most technical studies of Schoenberg’s music are
limited to a single compositional period, this book traces changes in his
attitudes as a composer, and their impact on his ever-changing
compositional style over the course of his remarkable career.

m i c h a e l c h e r l i n is Professor of Music Theory and Founding Director

of the Interdisciplinary Program in Collaborative Arts at the University of
Minnesota. He is co-editor of Musical Transformations and Musical
Intuitions: A Festschrift in Honor of David Lewin (1994) and The Great
Tradition and Its Legacy: The Evolution of Dramatic and Musical Theater in
Austria and Central Europe (2003). His work on Arnold Schoenberg has
been published in journals devoted to music theory and history, including
Music Theory Spectrum, the Journal of the American Musicological Society,
and Perspectives of New Music.
Music in the 20th Century
g e n e r a l e d i t o r Arnold Whittall

This series offers a wide perspective on music and musical life in the twentieth
century. Books included range from historical and biographical studies
concentrating particularly on the context and circumstances in which composers
were writing, to analytical and critical studies concerned with the nature of
musical language and questions of compositional process. The importance given
to context will also be reflected in studies dealing with, for example, the patronage,
publishing, and promotion of new music, and in accounts of the musical life of
particular countries.

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Schoenberg’s musical imagination
Schoenberg’s Musical
Imagination

Michael Cherlin
CAMBRIDGE UNIVERSITY PRESS
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Cambridge University Press

The Edinburgh Building, Cambridge CB2 8RU, UK
Published in the United States of America by Cambridge University Press, New York
www.cambridge.org
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© Michael Cherlin 2007

This publication is in copyright. Subject to statutory exception and to the provision of

relevant collective licensing agreements, no reproduction of any part may take place
without the written permission of Cambridge University Press.
First published in print format 2007

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 Contents

List of music examples and figures page viii

Acknowledgements xv
Introduction 1
1 A passing of worlds: Gurrelieder as Schoenberg’s reluctant farewell to the
nineteenth century 20
2 Dialectical opposition in Schoenberg’s music and thought 44
3 Dramatic conflict in Pelleas und Melisande 68
4 Motive and memory in Schoenberg’s First String Quartet 155
5 Uncanny expressions of time in the music of Arnold Schoenberg 173
6 The tone row as the source of dramatic conflict in Moses und Aron 230
7 The String Trio: metaleptic Schoenberg 299

Notes 340
Bibliography 384
General index – names and topics 390
Index of Schoenberg’s works and writings 396
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 Music examples and figures

Musical examples
Chapter 1
1.1 Gurrelieder, first four measures. Used by permission of Belmont Music
Publishers, Los Angeles. page 26
1.2 Measures 93–6. Used by permission of Belmont Music Publishers,
Los Angeles. 28
1.3 Measures 139–45. Used by permission of Belmont Music Publishers,
Los Angeles. 28
1.4 Measures 189–96 (texture simplified). Used by permission of Belmont
Music Publishers, Los Angeles. 29
1.5 Measures 343–9 (texture simplified). Used by permission of Belmont
Music Publishers, Los Angeles. 30
1.6 Measures 444–51 (texture simplified). Used by permission of Belmont
Music Publishers, Los Angeles. 31
1.7 Measures 502–15 (voice part only). Used by permission of Belmont
Music Publishers, Los Angeles. 31
1.8 Measures 553–62. Used by permission of Belmont Music Publishers,
Los Angeles. 33
1.9 Measures 653–67 (texture simplified). Used by permission of Belmont
Music Publishers, Los Angeles. 34
1.10 Measures 691–2. Used by permission of Belmont Music Publishers,
Los Angeles. 36
1.11 Measures 722–33. Used by permission of Belmont Music Publishers,
Los Angeles. 37
1.12 Measures 818–29. Used by permission of Belmont Music Publishers,
Los Angeles. 38

Chapter 3
3.1 Tabular list of leitmotivs and themes, in order of appearance. Used by
permission of Belmont Music Publishers, Los Angeles. 87
3.2a Hauptstimmen, measures 1–11. Used by permission of Belmont Music
Publishers, Los Angeles. 92
 L i s t o f mu s i c e x a m p l e s a n d fi g u re s ix

3.2b Measures 1–6 (texture simplified). Used by permission of Belmont

Music Publishers, Los Angeles. 93
3.2c Underlying voice leading for the opening. 95
3.3a Reh. 1–1.7: Hauptstimmen with simplified underlying harmonies. Used
by permission of Belmont Music Publishers, Los Angeles. 101
3.3b Embedded whole tones in Melisande. 102
3.3c Melisande at original level and transposed down a tritone. 102
3.3d Reh. 2–3.4: Melisande in whole tone canon. Used by permission of
Belmont Music Publishers, Los Angeles. 104
3.3e Melisande at original level and transposed up four semitones. 105
3.3f Melisande at T4 and T6 : The beginning of the whole-tone canon.106
3.3g First two measures of Reh. 25. Used by permission of Belmont Music
Publishers, Los Angeles. 108
3.3h Reh. 42–43.9, texture simplified. Used by permission of Belmont Music
Publishers, Los Angeles. 110
3.4a Reh. 3.7–4.3, texture simplified. Used by permission of Belmont Music
Publishers, Los Angeles. 114
3.4b Reh. 5–7.4: Gol aud theme, with simplified harmony and figured bass.
Used by permission of Belmont Music Publishers, Los Angeles. 117
3.5 Two measures before Reh. 9 to Reh. 10: Pel leas theme, texture
simplified. Used by permission of Belmont Music Publishers, Los Angeles.
122
3.6a Reh. 12.4–12.13: the emergence of Eros. Used by permission of Belmont
Music Publishers, Los Angeles. 127
3.6b Flute melody at Reh. 16 and emergent Eros. Used by permission of
Belmont Music Publishers, Los Angeles. 128
3.7a Reh. 22–24: Golaud’s fall, emergence of Jealousy. Used by
permission of Belmont Music Publishers, Los Angeles. 130
3.7b Reh. 28–28.4: Hauptstimme, Gol aud/Jealousy. Used by
permission of Belmont Music Publishers, Los Angeles. 134
3.8 Reh. 36–37: first phrase of Love (texture simplified). Used by
permission of Belmont Music Publishers, Los Angeles. 135
3.9a Reh. 50: return of Melisande Lost, emergence of Death Dr ive
and Lost Inno cence. Used by permission of Belmont Music
Publishers, Los Angeles. 145
3.9b Diatonic framework of Lost Inno cence. 146
3.9c Celli and basses, three before Rehearsal 55: fusion of Gol aud,
Jealousy, and Lost Inno cence. Used by permission of Belmont
Music Publishers, Los Angeles. 148
3.9d Reh. 59–60.4: Death of Mélisande, Death Dr ive (texture simplified).
Used by permission of Belmont Music Publishers, Los Angeles. 151
x L i s t o f mu s i c e x a m p l e s a n d fi g u re s

Chapter 5
5.1 Verklärte Nacht, mm. 251–4. Used by permission of Belmont Music
Publishers, Los Angeles. 181
5.2a Second String Quartet, Entrückung, mm. 1–3. Used by permission of
Belmont Music Publishers, Los Angeles. 183
5.2b Two partitions of the Entrückung motive. 184
5.2c Entrückung motive, underlying whole tones, and tonal implications. 184
5.2d Entrückung motive, voice-leading implications of the 3+5 partition. 185
5.3a Opening of Unterm Schutz von dichten Blättergründen. Used by permission
of Belmont Music Publishers, Los Angeles. 186
5.3b Ending of Unterm Schutz von dichten Blättergründen. Used by
permission of Belmont Music Publishers, Los Angeles. 188
5.3c End of Wir bevölkerten die adbenddüstern Lauben (with added tonal
closure). Used by permission of Belmont Music Publishers,
Los Angeles. 189
5.4a Vergangenes, mm. 1–9 (texture simplified). Used by permission of
Belmont Music Publishers, Los Angeles. 190
5.4b Vergangenes, mm. 10–19. Used by permission of Belmont Music
Publishers, Los Angeles. 191
5.4c Vergangenes, measures 47–56. Used by permission of Belmont Music
Publishers, Los Angeles. 193
5.5a Erwartung, measures 1–3. Used by permission of Belmont Music
Publishers, Los Angeles. 195
5.5b Erwartung, mm. 6–10. Used by permission of Belmont Music
Publishers, Los Angeles. 196
5.5c Erwartung, mm. 16–19. Used by permission of Belmont Music
Publishers, Los Angeles. 198
5.5d Erwartung, mm. 24–6. Used by permission of Belmont Music
Publishers, Los Angeles. 200
5.5e Erwartung, mm. 112–23. Used by permission of Belmont Music
Publishers, Los Angeles. 202
5.5f Erwartung, mm. 411–13 (texture simplified). Used by permission of
Belmont Music Publishers, Los Angeles. 206
5.5g Am Wegrund, mm. 22–4. Used by permission of Belmont Music
Publishers, Los Angeles. 208
5.5h Erwartung, final two measures (texture simplified). Used by permission
of Belmont Music Publishers, Los Angeles. 209
5.6a Opening of Mondestrunken. Used by permission of Belmont Music
Publishers, Los Angeles. 211
5.6b Mondestrunken, implicit voice leading of the piano ostinato. 212
 L i s t o f mu s i c e x a m p l e s a n d fi g u re s xi

5.6c Mondestrunken, mm. 23–8. Used by permission of Belmont Music

Publishers, Los Angeles. 213
5.7a Third String Quartet, first movement, mm. 1–12. Used by permission
of Belmont Music Publishers, Los Angeles. 219
5.7b A model for the implicit voice leading. 220
5.7c Third Quartet, first movement, mm. 239–44. Used by permission of
Belmont Music Publishers, Los Angeles. 220
5.7d Third String Quartet, first movement, mm. 311–23. Used by
permission of Belmont Music Publishers, Los Angeles. 222
5.7e Third String Quartet, Adagio, mm. 1–3. Used by permission of
Belmont Music Publishers, Los Angeles. 225
5.7f Third String Quartet, Intermezzo, mm. 1–2. Used by permission of
Belmont Music Publishers, Los Angeles. 226
5.7g Third String Quartet, Intermezzo, mm. 23–6. Used by permission of
Belmont Music Publishers, Los Angeles. 226
5.7h Third String Quartet, Rondo, mm. 1–2. Used by permission of Belmont
Music Publishers, Los Angeles. 227
5.7i Third String Quartet, Rondo, mm. 206–end. Used by permission of
Belmont Music Publishers, Los Angeles. 227

Chapter 6
6.1 The source row and its combinatorial inversion. Used by permission of
Belmont Music Publishers, Los Angeles. 238
6.2 Three partitions of the source row. 238
6.3 X+Y partitions of the source row and the retrograde of its
combinatorial inversion. 240
6.4 Measures 11–13 (texture simplified). Used by permission of Belmont
Music Publishers, Los Angeles. 241
6.5 Hexachordal partition of source row and the retrograde of its
combinatorial inversion. 243
6.6 Hauptstimmen, Act I, scene 1, mm. 71–8. Used by permission of
Belmont Music Publishers, Los Angeles. 243
6.7 Act I, scene 4, mm. 642–4. Used by permission of Belmont Music
Publishers, Los Angeles. 246
6.8 Chromatic tetrachordal partition of Area 8. 246
6.9 Act I, mm. 870–2. Used by permission of Belmont Music Publishers,
Los Angeles. 247
6.10 Chromatic tetrachord partition of Areas 10, 6, and 2. 248
6.11 Act II, scene 2, mm. 166–70. Used by permission of Belmont Music
Publishers, Los Angeles. 249
xii L i s t o f mu s i c e x a m p l e s a n d fi g u re s

6.12 Comparison of odd/even partition of I4 with X+Y partitions of S0

and S4 . 253
6.13 Act I, scene 2, mm. 124–9. Used by permission of Belmont Music
Publishers, Los Angeles. 254
6.14 Odd/even partitions of S7 and RI7 . 257
6.15 Act I, scene 2, mm. 148–52. Used by permission of Belmont Music
Publishers, Los Angeles. 257
6.16 Act I, scene 2, mm. 163–8. Used by permission of Belmont Music
Publishers, Los Angeles. 260
6.17 Act I, scene 4, mm. 630–3. Used by permission of Belmont Music
Publishers, Los Angeles. 261
6.18 Ordered tetrachord partition of RI1 and S10 and embedded
Y-component of S0 . 263
6.19 Act I, scene 1, mm. 8–10. Used by permission of Belmont Music
Publishers, Los Angeles. 264
6.20 Ordered tetrachord partition of I2 and S2 . 265
6.21a Act I, scene 2, mm. 208–14. Used by permission of Belmont Music
Publishers, Los Angeles. 266
6.21b Reinige dein Denken contour, intervals, and embedded
interval palindromes. 267
6.21c Reinige dein Denken pitches arranged in ascending order, with intervals.
Used by permission of Belmont Music Publishers, Los Angeles. 268
6.22 Bringt/Bleib partition applied to members of A2 . 269
6.23 Act I, scene 4, mm. 443–57. Used by permission of Belmont Music
Publishers, Los Angeles. 272
6.24 Act I, scene 4, mm. 566–71. Used by permission of Belmont Music
Publishers, Los Angeles. 274
6.25 March partition and its ordered interval permutations. 275
6.26 Act I, scene 4, mm. 684–90. Used by permission of Belmont Music
Publishers, Los Angeles. 277
6.27 I9 partitioned as in the men’s voices, I.4, mm. 690–1. 278
6.28a Act I, scene 1, mm. 1–7. Used by permission of Belmont Music
Publishers, Los Angeles. 279
6.28b Implicit voice leading in the combined female and male chords of
the opening. 282
6.29 Act I, mm. 11–13. Used by permission of Belmont Music Publishers,
Los Angeles. 285
6.30 Act I, scene 1, mm. 16–22. Used by permission of Belmont Music
Publishers, Los Angeles. 286
6.31a X+Y partition of S0 and RI11 . 288
 L i s t o f mu s i c e x a m p l e s a n d fi g u re s xiii

6.31b Comparison of X-progressions. 289

6.32 Act I, scene 1, mm. 67–70. Used by permission of Belmont Music
Publishers, Los Angeles. 290
6.33 Inversional balance about E, mm. 67–70. Used by permission of
Belmont Music Publishers, Los Angeles. 291
6.34 Act I, scene 1, mm. 71–8. Used by permission of Belmont Music
Publishers, Los Angeles. 292

Chapter 7
7.1 Measures 41–51. Used by permission of Belmont Music Publishers, Los
Angeles. 307
7.2 The opening of the String Trio. Used by permission of Belmont Music
Publishers, Los Angeles. 310
7.3 Schoenberg’s sketches. Used by permission of Belmont Music
Publishers, Los Angeles. 312
7.4 The conclusion of Part 2 and the beginning of Episode 2 (mm. 178–81).
Used by permission of Belmont Music Publishers, Los Angeles. 314
7.5a The cantabile theme of Part 2 (mm. 159–69). Used by permission of
Belmont Music Publishers, Los Angeles. 316
7.5b The recapitulation of the cantabile theme (m. 282–end). Used by
permission of Belmont Music Publishers, Los Angeles. 318
7.6 The triadic voice-leading implications of sketch “A1.” 322
7.7 The beginning of Episode 1 (mm. 45–58). Used by permission of
Belmont Music Publishers, Los Angeles. 324
7.8 Measures 267–75. Used by permission of Belmont Music Publishers,
Los Angeles. 325
7.9 The first appearance of the waltz (mm. 81–102). Used by permission of
Belmont Music Publishers, Los Angeles. 333

Figures
Chapter 1
1.1 Overview of Arnold Schoenberg’s Gurrelieder. 23

Chapter 3
3.1 Correlations between Schoenberg and Maeterlinck noted by Berg. 72
3.2 Berg’s designations for seventeen sections in Schoenberg’s Pelleas. 85
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