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Analysis of Schoenberg’s Suite for piano op. 25

Matan Daniel Porat

I. Background

Schoenberg’s suite for solo piano, op. 25, composed in 1921, is a pivotal work in his Oeuvre. As the Three Piano Pieces op. 11 was his first atonal composition, in this suite Schoenberg firstly implied a dodecaphonic row for an entire work, an idea which he first introduced in the last piece (“Waltzer”) of the five pieces for piano op. 23, and in the fourth movement of the Serenade op. 24 for voice and seven instruments. It is clear that Schoenberg wanted to show what his new writing style can produce, and therefore chose known classical forms. The dances chosen for the suite- Prelude, Gavotte, Musette, Intermezzo, Menuett and Gigue are all rooted in the baroque, apart from the Intermezzo, which was a popular middle movement in the works of Schumann and especially Brahms. Neo-classicistic works begin to flourish in the 20’s, especially through the works of Stravinsky and the French composers. The suite is one of Schoenberg’s first pieces that can be seen as neo-classical. Approaching his fifties, Schoenberg was in a beginning of a new phase in his life. As he almost did not compose anything during 1913-1921, the suite marks a triumphal return to composition. Among Schoenberg’s 50 opus numbers, this piece stands in the middle, and from now on his compositions are strictly dodecaphonic. It is astonishing to see that even as being the first work in that style, Schoenberg already discovered most of the potential of a 12-tones row, including its divisions into sub-groups. In an article published close to his death (My technique and style, c. 1950) he describes the suite as “one of the most decisive steps forward” he took in his life. Schoenberg revives Bach’s techniques in his compositions for keyboard, and uses various contrapuntal devices, imitations, canon, inversions and augmentations. But perhaps the truly remarkable thing about this suite is that Schoenberg was able to grasp all the grace and gallantry style of the baroque dances, and in the same time to offer a completely new modern approach to them. In my work I will write notes about each movement, and also present a full detailed analysis of the whole piece.

II. Analysis

Schoenberg’s dodecaphonic row for the entire suite is divided into three groups: E,F,G,Db | Gb,Eb,Ab,D | B,C,A,Bb. Clearly, the most important characteristic for this row is the tritone: There are two tritones in the end of the first and second group (G,Db and Ab,D), the inversion of the first group produces Db and Gb as well, and the first and last note in the row make another tritone (E,Bb). To strengthen this feature Schoenberg is using only one transposition for all the piece- a tritone transposition, which starts and finishes with Bb and E again, and also has Db,G in its first group. One more feature of this row can be found in the retrograde version of third group, as B,C,A,Bb in backward form the name BACH (Bb,A,C,B). Schoenberg is using eight versions of this row- The row in its prime form and its three inversions (retrograde, inversion, retrograde-inversion), and the row in a tritone transposition and its three inversions. The eight versions of the row are: P0: E,F,G,Db | Gb,Eb,Ab,D | B,C,A,Bb I0: E,Eb,Db,G | D,F,C,Gb | A,Ab,B,Bb R0: Bb,A,C,B | D,Ab,Eb,Gb | Db,G,F,E RI0: Bb,B,Ab,A | Gb,C,F,D | G,Db,Eb,E P6: Bb,B,Db,G | C,A,D,Ab | F,Gb,Eb,E I6: Bb,A,G,Db | Ab,B,Gb,C | Eb,D,F,E R6: E,Eb,Gb,F | Ab,D,A,C | G,Db,B,Bb RI6: E,F,D,Eb | C,Gb,B,Ab | Db,G,A,Bb

Präludium

As in the classical tradition, the prelude serves to introduce the entire piece. We can find here many hints for the future movements, as well as various techniques which Schoenberg will explore in greater depth later on. The original row is being introduced to us right in the beginning, in the right hand (measures 1-3), while the prime form of the tritone transposition is presented in the left hand (m. 1-3). Already here Schoenberg is cutting the row into the three sections, letting the upper voice in the left hand play the second section and the lower voice the third. The piece main motives are the repeated note (first introduced in m. 3), and the dotted rhythm figures (usually given to the row in its tritone transposition). We can generally sense three sections of the piece (A starting at 1-9, B at 10-16 and C 17-24). Gavotte The gavotte is full of grace and charm. As the Gavotte the phrases begin in the middle of the measure, Schoenberg starts his rows usually on the second beat. He is using palindromes in the beginning of the Gavotte (a symmetrical device, such as F,G,E,A,E,G,F). With a palindrome being used on the third section of the prime form (B,C,A,Bb), Bach’s name is revealed (Bb,A,C,B)= B,A,C,H. Musette In this folk dance the first beat of every measure is very strong, followed by a weaker beat. Schoenberg is repeating the G throughout the whole first section (m. 1-9) and last section (m. 21-30), and shows the important connection between G and Db (the two notes that return in the first group of the original row, the inversion, and the tritone transposition) in measures 10-11. The connection between the Gavotte with its strong beat in the middle and the Musette with a very strong first beat is marvelous.

Intermezzo This movement that comes in the exact middle of the piece is very different from the other parts, not only by not being a dance, but also by its much more homophonic texture. Unlike most movements, where we can find in a single bar one or two rows, sometimes it takes up to two or three measures for the row to unfold. Also, we have more of a melody and accompaniment feeling, especially due to the repeated figures of the right hand (for example, the very beginning- measures 1-2). As it is also the only slow movement in the suite, the atmosphere is very nostalgic, and reminiscences of Schoenberg atonal style (and, in a way, of the second piano piece op. 11) can be heard. It is possible to look at the general structure as some kind of a ABA’ form: A (1-10), B (11-30), A’ (31-45). Menuett In the Menuett Schoenberg returns to the grace and charm he used in the Gavotte. Also a homophonic movement, there are many repeated memorable motives, such as the right hand figure in measure 5 and the right and left hand figures in measure 9, second and third quarter. In the Menuett Schoenberg begins with the second group of the original row, and it is the only movement to do so. The repeated first section of the Menuett (1-11) makes the two sections nicely even at length (22 measures for both). Trio The Menuett’s trio is a fast and vigorous Canon in a tritone inversion. Divided to two repeated sections of five measures each, the trio is very coherent and straightforwarded.

Gigue The Gigue serves a virtuosic finale. Full of leaps and jumps, it is very often suggests common violin figures (for example, measures 5-9, right hand). Fifths and tritones are

extremely common throughout this movement, which is both very rhythmic and polyphonic. Schoenberg mixes the row and its different group so much that it is sometimes very hard to tell to where the notes belong. Also, there are many tempo changes, and different sudden melodies (such as this one, in m. 14-15). In the same way that the Prelude served as an introduction to the whole suite, the Gigue is more of a conclusion, ending majestically with the original row (m. 74-75).

Bibliography:

Armitage, M. (editor): Schoenberg. The piano music of Schoenberg, by Eduard Steuermann, G. Schirmer, New York, 1937. Rosen, C.: Arnold Schoenberg. University of Chicago Press, 1996. Schoenberg, A.: Style and Idea. Selected writings of Arnold Schoenberg edited by Leonard Stein. University of California Press, 1984. Schoenberg, A.: Suite für klavier op. 25. Universal Editon, 1925.