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Variaciones para Orquesta. Las Variaciones para orquesta Op. 31. fueron compuestas entre 192728 por ArnoldSchoenberg. Es una obra completamente dodecafónica. Las Variaciones para Orquesta Op. 31 son total son nueve variaciones sobre un tema, junto con una introducción y un final. 1 Introduktion. Mäßig, ruhig 1:30 2 Thema. Molto moderato 1:01 3 Variation 1. Moderato 1:15 4 Variation 2. Langsam 1:31 5 Variation 3. Mäßig 0:40 6 Variation 4. Walzertempo 1:19 7 Variation 5. Bewegt (Agitado) 1:42 8 Variation 6. Andante 1:23 9 Variation 7. Langsam (Largo) 2:01 10 Variation 8. Sehr rasch 0:39 11 Variation 9. L'istesso tempo. Aber etwas langsamer 0:57 12 Finale. Mäßig schnel 5:22 Comentarios: 1. Representa una buena muestra de todo lo que se puede lograr con el método dodecafónico en el plano orquestal. Es una música bastante abstracta y carente de melodía pero que posee una estructura interna muy sólida. Se percibe un aire de libertad en las series formadas de doce notas, pues el timbre de los instrumentos, el tiempo y la dinámica no están regidos por leyes de tipo matemático y son de libre elección por el compositor. 2. En esta obra, estructurada bajo los moldes clásicos, Schoenberg deja atrás las prodigiosas combinaciones de contrapunto y armonías extremas de las primeras obras, creando texturas más ligeras en donde apenas sobresalen algunas líneas melódicas, lo cual definirá de aquí en adelante su estilo de composición de música serial. Las series son modificadas en estas variaciones en cuanto a ritmo y melodía.

Op. 31, Variations for Orchestra Overview The Variations for Orchestra, op. 31, were written between May 1926 and August 1928, when Schoenberg was composing with the twelve-tone musical language; this was his first major essay for orchestra since his Five Pieces for Orchestra, op. 16. The Variations were premiered by the Berlin Philharmonic in December 1928 under the baton of Wilhelm Furtwängler, who Schoenberg had warned, “the individual parts are for the most part very difficult, so that in this case the quality of the performance depends on the musicianship of the players.” The theme and variation form is one of the great traditional forms of Western music. Here Schoenberg proves its compatibility with atonality, and specifically, the twelve-tone method, a natural ally of the variation technique. Schoenberg treats the original or prime form of the 12-tone row in the manner of a motif that is inverted, played backwards, or both; or, as they are often referred, the inversion, retrograde, and retrograde inversion. Rhythms associated with the first statement of the theme are also manipulated; in each variation, the exact pitch sequence of the theme is present, but the rhythmic patterns and instrumentation is altered. Schoenberg’s orchestral variations do not begin with the theme, but with an Introduction that includes a prominent statement of four notes in the trombone: B-flat, A, C, and B-natural. In German musical notation, the letter “B” represents B-flat and “H” represents B-natural, thus Bach's name can be spelled out musically. This is known as the “B-A-C-H motive.” Some have suggested that Schoenberg's reason for citing the BACH motive is because he modeled the Variations for Orchestra after a specific work of Johann Sebastian Bach. Although there is no direct evidence to support this claim, Schoenberg often cited Bach’s role in his thought processes. The principal theme does not appear until measure 34, in an arching melody played by the cellos. This is followed by nine variations, the longest nearly 3 minutes, and the shortest about 30 seconds. Each variation is marked by a unique texture and orchestration; and, as in the greatest sets of variations in the history of Western music, such as Beethoven’s Eroica Variations and Brahms’s Haydn Variations, Schoenberg employs a masterful sense of pace and progression throughout. The Finale once again includes a prominent state of the BACH motive, as if a final homage to the great master; or perhaps Schoenberg is reminding us that he believed he was a worthy addition to the great line of German composers. Examples

Ex. 1 Introduction, BACH motive In German musical notation, the letter “B” represents B-flat and “H” represents B-natural, so Bach’s name can be spelled out musically. The Introduction to Schoenberg’vs Variations for Orchestra, Op. 31 (1926-8) contains a prominent statement of the famous BACH motive. However, this is not the main “theme” that serves as the basis of the variations, which begs the question, why being the Orchestral Variations with the BACH motive? Ex. 1 shows the BACH motive as it appears in Trombone I, marked pianissimo and dolce. Ex. 2 Theme The principal melody that serves as the main theme for the variations appears in mm. 34-57 in the cellos. The section is marked “Thema” clearly in the score, and the theme is given Schoenberg’s “hauptstimme” marking that he used to point out the principal music lines in his often-dense scores. Much of the joy in analyzing Schoenberg’s Variations found less in “hearing” how each variation references back to the original theme (which is indeed wondrous), but in addition, understanding how Schoenberg embeds the “prime” or original pitch sequence, P-0: Bb, Fb, Gb, Eb, F, A, D, C#, G, G#, B, C, followed by RI-7, R-2, and I-9 (in the violin part), throughout each variation I. The series of examples which follow illustrate the original rows as they appear within each variation, identifying how Schoenberg not only manipulates his use of the twelve tone-row, but also signifying how Schoenberg applies the principals of variation through unique textures and orchestration. Throughout each example, the ordering of the row is identified with numbers 0 through 11. Ex. 3 Variation I Variation I states the prime row in the bass clarinet and three bassoons in unison, and contrabassoon, which sounds one octave below. The tempo is marked Moderato, quarter note equal to 72 beats per minute. Ex. 4 Variation II Variation II states the prime row across the principal bassoon and principal flute. Marked pianissimo, you can get an idea in this example as to the kinds of liberties Schoenberg allowed himself in stating the prime row, particularly with respect to simultaneous occurrences of pitches within the row. This variation is marked Langsam, or slow, with 9/8 meter. The dotted quarter note gets the beat, at 56 occurrences per minute. Notice that the principal bassoon is near the top of its range. All too often Schoenberg is discussed only with respect to his pitch-based invention. The fact is, Schoenberg pushed the envelope with respect to the difficulty levels within individual parts, and

experimented with rarely used instrumental combinations. Ex. 5 Variation III Variation III states the prime row prominently with the “high” horns (1 and 3) in unison with forte dynamic indication. The tempo is marked Mäßig (moderate) with quarter note at 88 beats per minute. Ex. 6 Variation IV Variation IV is in Waltz tempo; 3/4 meter at quarter note at about 144 beats per minute. The harp and mandolin are doubling the statement of the prime row marked “begleitend” or accompanying; in this case the statement of the row is not the primary musical line. The harp is playing harmonics and, not shown in the Ex. 6, is the celeste, which chimes on the first note of each pitch statement with a quarter note duration sounding an octave higher. Ex. 7 Variation V Variation V is presented by the Contrabassoon and the Contrabasses, sounding an octave lower than written. The marking is “Bewegt” meaning “moving, agitated” and the tempo marking is quarter note equal to 112 beats per minute. The primary musical line, or hauptstimme, is found in the first and second violins (not shown). Ex. 8 Variation VI Variation VI is marked Andante in 4/8 meter with a tempo indication of eighth note equal to 120 beats per minute (or one quarter note pulse per second). Three solo cellos participate in this movement, but the prime row is presented in the topmost cello line, played by the principal cello. Not shown is the primary line presented by the clarinets, with secondary lines doubled by flute, English horn and bassoon. Ex. 9 Variation VII Variation VII is marked “Langsam” or “slow.” Form Variation VI to Variation VII, the tempo remains the same, eighth note equal to 120 beats per minute. However, as the meter has changed from 4/8 to 4/4, the net effect is the pace of the music slowing to half the speed of the previous variation. The prime row is presented in the piccolo, with doublings in the glockenspiel (on the first note of each piccolo statement of the row). The musical gestures in the violin solo and the celeste also touch upon each note of the prime row, although its music is not an exact doubling.

Ex. 10 Variation VIII Variation XIII presents the prime row in the cellos with an indication of molto staccato, in a musical gesture that is an evolving ostinato. The first four pitches of the row, Bb, E, F# and D# are repeated, then reordered in measure 2 (note the use of enharmonic relationships, E-natural to Fb, D# to E-flat). The fifth pitch, A, is introduced, then in the third bar, D, C# and G. The final pitches of the row, G#, B and C are in finally introduced in fifth bar. Notice the “fingernail” indication on the C-natural, this instructs the cellist to give an extra hard pull on the string. This section is marked “sehr rasch” or “very quick” at tempo half note equal to 100 beats per minute. The music is presented in 2/2 meter. Ex. 11 Variation IX The final variation, Variation IX, is marked “L’istesso tempo; aber etwas langsamer” meaning “the same tempo, but a little bit slower.” The tempo indication is half note equal to 88 beats per minute (compared to half note equal to 100 beats per minute in the previous variation). In this variation, the prime row is clearly stated in the haupstimme, or primary line, as a piccolo solo. Secondary lines are presented in the first trumpet and the violas (not shown). Ex. 12 Finale; BACH motive In the finale, once again we have the statement of the BACH motive. This time presented pianissimo in the first violins. The Finale is marked “Mäßig schnell” or “moderately fast,” with a tempo indication of quarter note equal to 120 beats per minute. These pitches are also simultaneously outlined, though in slightly different music, for the first flute with flutter-tounging indicated (not shown). Why exactly Schoenberg chose to start and end his Variations for Orchestra with statements of the BACH motive may forever remain a mystery.