‘The ‘ello soo fr ‘Serenade’ (Schoenberg, Prt Lamar, Op. 21) coa- ints of an ieroular change af one- and two-measure units. Begs One might interpret some ofthe ireguarie in the examples from Haydn, ‘Monat and Brahms crore byspeilporpones, for instance the desi to “tay a baroque sane of frm oto scsomplik » more definite separation of he phrsea by ‘punctstion orto assist inthe dramatic characterization of ‘aibus ators in ao opera of to comply with the metrical peeuliatis of the soem of «song ha Been shown in previous discussions. But none of these reasons wil xpi eegulnitie wach share been men- Soned inthe marc of port-Wagaerian composes. Evidently their deviations ‘om simple consrton no lange drive fram exclusively technical conditions, tor do thay serve to provide asic appearance. They have become incor- donsted nto the syntax nd grammar of perhape ll subsequent musical struc- tutes, Accordingly, they have ceed to be recorded at mers o composition — hough unforeuately many literate composes ail write two pl two, four plus four, igh plas eight unchanging. gin: it doesnt mater wheter a att tains his highest achievements con- a siouly, according wo preconecied plan, or subconsciously, by stepping blind folded frm one feature to the nest. Has the Loed granted toa tinker bein of unusual poner? Or did the Lord sly seize hi now and then with bit (of His owa thinking? Oar Lord isan extemely good chess player. He usally ‘plans billions of moves ahead and thats why it snot eat understand Him. Tescems, however that He likes helping in ther pil problems those He as selected though no enough in their more material one. ‘Again: asymmetry and imparty of srucual elements are no mirele in contemporary musi, nor do they constitute a merit. contemporary compote connects phases iespetive oftheir size and shape, only viglant of heroic progsession, of hythinic and matial contents, Raencyand loge. But tris Ine choos his ay ikea tourist, feely and nonchalant if he fel stm, strietly and cael if he feels he ic under pressure, I only he ever oes ight of his goal! Merits of contemporary compositions may cont of formal finesse of a ferent kind. Ie ay be the variety andthe mulitude ofthe ides, the manaet in which they develop and grow out of germinating unit, how they are on tasted and how they complement ose another; it may alsa be thir emotional quality, romantic oF unromaatic, subjeive or objective, thee expression of ‘moods and characters and illustration, ‘Contemporary eompostrial technique has nt yet arived a a feeedam of contruction comparable to that ofa language. Evidently, however, parity end symmety playa leer role today than they iin err techniques; andthe ‘spiation fora strictness cesembling tat of the hexaeter or penta, ot {hat ofthe structures the soa oe de stanza in poetry is ae. Tete ae even composers who preserve litle of dhe features of the theme inthe vacations —a queer ease: why should one use a form of such stricnes, fone aims for the cata? Ie it ata fone would string a violin E-tring ona double bass? One ‘say to ignore discrepancies of his kind and degree in favour of oven jg meri in other respects, But the aesthetic background for a jus and general judgement has become very questionable st present. "This discussion wil be concluded by two illustrations of Brau contribution “9toward the development of the musical language: the main theme of the Andante from the A minor String Quartet, Op, 51, No. 2 and the third of the "Vir Ernst Gesinge’, Op. 121, ‘0 Tod, O Tod, wie biter bist du’ ‘Both thee themes are specimens of 2 perhaps unique artistic quality, ae regard their motive elaboration and internal ganization, Ee 46 ‘As the analysis unveils, the A major Andante contaies excsively mati forms which can he explained a derivatives ofthe interval of second, marked by brackets a ‘then i the inversion upward of a eisatb; dis parcof es 215d. 8, descending sends, comprising «fourth, {fs te interval ofa fourth, abstracted from ein inversion, ‘The frst phrse—c—thus consists of @ ple B. Te ako contsine d (06 bracket below), which alo functions asa connective between the stand the scoond phrase (*) "The second phrae consists of and d; with the exception of is upbeat (he cighth ote ean dhe two nots of and by it present isl ae a taniposition of "he ist pease (ae above a §) one step higher Italo fuses the aera of 2 fourth J. "The third phrase contains ¢ twice, the second time taneposed one step higher. ‘The fourth phrase is distinaly a transformed tenspion of ‘The fith phvse, though it looks Ikea variant ofthe preoling phe, ‘meray contatsc, connected withthe preceding by f "The ish phrase, conning of, 4 and 8, contains & chromatic connective ‘be, which enld be considered es the second not of «form of . This bg the ‘nly note in the whole theme whoee derivation canbe contested, ‘Sceptics however, might reason that steps ofa send or even factions of scaleare present in every theme without comaiting the thematiomnteril, There ‘sts an enormous multe of methods and principles of enstruction, few of which have yet been explored. T deem it probable that many msiins are scguaited with thse ew ansivce whieh I brosdeast i 1933 on celebrating Brahms? sooth birthday anniversary. But one who objet to my concklons must noe forge thatthe eecond example exhibits similar acer his time “dealing with thirds (6e Ee. 47, pages 432 and 433). ‘This example has certain resemblance #9 the main theme of Beans? ourth Symphony—in both the sractaral unt isthe inter ofathied, The first phrase athe voice part consis of succession of thre thids bg, g-eand es marked a a"The soond phrase is hl From the inversion of a -c, marked Band ¢, ‘which ie ith an nserted passing note "The third phrases asequenc ofthe second phrase ands (Characters!) tied lower. "The fourth phase, in which the voice follow the piano with a small canoe inition, inverts the interval ofa third (b-g and e-e respectively into sixth Otserve alo the ration of tied betcen the two points G2 in measures (27 in voice and pian, "The fith and ssh phrases, with part ofthe seventh, ate founded upon the rote marked f g-b-d-tz, which are an inversion of the desunding third af the Sst phase. sides, the left and in measures 8 and 9 contains the succession ‘of dies, though the fie two notes hve changed thee places (ee **).Further~ ‘nor, the let hand in measure rocontinesictones bindings chain of thirds (2), "The voice pare consists mainly ofthis, some of them including pasing noes. Besides herewhere dhe climactic eoncentation approaches cadence, the interval ofa third appear abundantly, and e alu occurs in successions Bes a See also Example 48x and b Here agin the thi is reversed a sith (84) fn dhe vse an mitted inthe bar (48), "The verze of logic and economy sad the power of inventiveness which build incodie of ro mich nturalRuency deserve the adirton of every msi over Ivho expeett more than sretaess and beauty fromm msi, Bit though I know athand only one example of auch complet of eostrcton by 2 pre-Drahmne= fan composer by Mozart, of eure ace Example 5 rm the Pato Quart (Grint) —T mus state that strueural analyse reveals oven greter merit, "The Andante from the A minor Sting Quartet (Example 45) contains six phrases in eight measures, The length of these phmace ie 6-1 6-6-4 4-44-46 ‘quaeer notes. The fit three phrares occupy five and hts-ighth (or ve and one-half) measures, The fst phrase ends practi onthe fre best of mearure 2. In arder to appreciate fl the arate value of the second phrt's merc stil, one must realize that even some ofthe geet componers, Drab’ prede= ‘esc, might have continued ain Example 4, placing the second phrase inthe ‘hired eeaee Be 1, then, dhe next wo phrases would fi into two 44g mesures, it might be outiful whether the accensaton ofthe lst phar (ot *) i adequate, fal the receding phrases had thee main acens placed on fst beats. But, besides, this ‘otation woul reveal the impart ofthe construction even moe, because the theme then becomes seven messes. Tn Brahms’ notation these subcutancous beauties are acommodated within asight mesure; and if eight measure constinte an aesthetic principle, iti preserved here i spite ofthe gest freedom of construction, "The example fom Mozart Example s1) isan enigma —not tothe pecformer, tout tothe analyst who i intrested inthe grammar, symax, and linguistics of Ex. 51 436 1 consists of thee ite segments, or phrases, whose metrical positon i Snticat, The bepnning ofthe fe pes on a thind beat marked, demande ing watrangractent than the hid best sally ere, The fellowing Sr bent ‘masked p and if this means ‘caneltion of the accent one might sme ‘hit means a change of tine, a ndoted in Example $14 and sre, where the ‘anges ofthe metre ae caida. ut in measure a, the fourth bet is lo suarkedf and sccenuation ofthe following beat is lo canceled, or at lest seduced. For this reason one might suppose that the second phrase does not ‘ogi, as the bracets above indiste t the second beat of measure 3, but at the Sour eat of measure 2, with the fa indicated Below the let hd Tei alo possible tat the note cn the third hes (the £) should retin is wocent, this prokcing a apondee Tn adtion to all these problems, the ‘cll when thi litle segment i ‘repeated, contributes a problem of is own, by sfacents which pardy contes- ict thote ofthe main voie (Example srb). The structural intricacy of this ‘cample is paaleled by the poyehythme cnstucion ofthe sound variation in the Finale ofthe Sting Quartet iD minor Example 524). Today ne wll Write this a a Example gab, An example fom the Menuet of the C major String Quarter (52) may serve asa Surber jutifention for extering into Ccamination of suck subtle problems. This example is one which suggest & ‘racing contrary to che metre. Here a uni of five quarer-notes is repeated on lfferent beat, while the accompaniment remains unchanged Beg aeethoven i. get innovator ae regards shythm. Remember, for instance, the Ist movement of the Plano Concert in B, or the Menuet ofthe String ‘Quarter, Op. 18, No, 6 te. But structural, a revouly tte, eis generally rather simple, Though, however, the hiciity of presentation balances sts- factory the hey loed of emotions his ideas ary with them, it needles to sy that abandonment of Mozart’ unequal nd uneyrmesc foundations would fave Been an extremely regretable loss, The idea cannot be rejected that the mental pleasure caused by structural Beaty ean be tantamount to the pease ‘erving fom emotional gualits. In this sense Brahm’ marit would be ime tense ever fhe had preserved this way of thinking ony a dhe tanner of tesa device, But-—and this characterize his high rank has surpassed 1f4man who knows that he wil di soon makes his acoant wth earth nd. vith heaven, prepares his woul for dhe departure, and balances what he leaves ith what he will recive, he might dave wo iacorpratea word a part of the trisdom he hs acguited into the Enowlege of mankind fhe is one of the {Great One might dt sbout the ene of eit then would boa mere acident thet such e work a ie-terminating work, would aot represent more than just nother opus Or one eed to wsume that » metage from man who is teeady half on the other side pogiesees tothe utermost Lit of the sti ‘xpreible? Ts one not ened to expect thereftom periction of an extra- inary degre, Beeae mastehip, «heavenly git, which cannot be aequied bythe mot paitaking aeidity and exercise, manifest isl only ence, only tone singl time in its fll entire, when a message of such importance has to he formulated? imagine tht at this point Brahms’ protective wall of deyness might enter the picture and that he might stop me ‘Now ts enough poe If you have to 5 something, ay ibe and technically without 20 much sentimental fs" of Beloce obeying this oder, Iam prested to say that chisthied ofthe Vier Brute Ging, “0 Tod, O Tod, wie bite bit dav, seems to me the mist touching of the whole cpcle—in pte of ts perfection, if not beat of. Ene ‘ition, inspiration and epontanity in eatin are generally characteristially combined with speed Bu ‘was snub x, dis ich an eine elende Grige dee, ‘wenn der Gviet mish pact” (Do you realy suppore I think of your miserable ‘in, ithe spc ges hod of me?) this show the att hime els wheter The erates in hard labour or only by a kind of toying "Therein doubt that Bras believed in working out the ideas which he calle git of grace. Hard labour, to aeaned mind, no tetre, but rather 2 pleasure. Ae T ave stated on another occasion: ia mathematicians ora chess player's mind can perform much miracles ofthe bri, why should « masa’ Inind at beable do it Aer al, anmprovier mas anticipate before playing, and composing is a slowed-down improvisation; often one cannot wit fst ‘enough to keep up with the stream of ideas. Buta craftsrnan ike to be conscious fof what le produces; hes proud ofthe ability of is hands, of che lebiity of bis mindy of his sul sente of blanc, of is neverfling loi, of the a tude of aratins, and st bu sat least of the profundity of his ides and his ‘apa of encraing othe most remote consoueees af a idea, Oe cannot {dothis withashallow ide, but ne ca, and one cxa ony, with a profound idea nd there one mat. I is import to resi tht at time when al belcved in ‘expresion’, ral, without renouncing beauty and emotion, proved to bea progressive it 1 Feld which had not een eulvate for balf a etury. He would have been & pioneer if he had simply reuned to Mozart. But he didnot live on inherited fortane; he male one of his own. True, Wagner has eoseibuted to the develop- ment of structural formulations trough hi technique of repetitions, varied or ‘unvaried Beene the feed him from the obligation of elaborating longer than ‘ecesary upon eubjct which he had already clearly determined, Ths this Janguage admitted tuning to other subjects, when the ation on the stage de- mand i ‘rahi never wrote dramatic nuse—and it was rumoured in Vienna that toe had eid he would rather write in the ate of Manat han in. the "New deutsche Sti. One can be sure it would not have ben Mozart’ tle, but pure Brahms, and though he might have repeated whole sentences, and even single 9‘words i the text n the manner of pre-Wagnerian oper, he could not have en- tire diseperded the contemporary Teling for drama presentation; he would rot let an actor de during ada apo ara and repeat the begining ater death ‘On the other hand, i would be highly enlightening to see all the dramaico- rusia requirement cared av oer Brahms umenely advanced harmony ‘Temi be doubfal wheter Brahms cold have found a ihreto fing 0 ‘what he ted and tothe emation he wa xpablef expressing, Woudithae been ‘comic opera comedy, yrie drama ora tragedy? He is many-sded, and one ‘nen Bnd in ia musi expesions of al sorts, with the posible exception of ‘oletdramatie outbursts such as ane fads in Wagne and Verdi, Who knows? Tone considers Becthove’s Fide, whichis diane symphonic it organi stion, remembers the tremendous oathurst at the end of the secund at “O ‘amenloee Fred” (Oh inexpresble jo!) andl compares tht withthe sity symphonic sse ofthe gester part of che third ae, one may get an impression of wat a genius i capable ‘wenn der Geist hn pact "0 Tod, © Td, wie bitter hist du’ has been analysed as regards its cminent otal loge In Example 47 at abo marked the beauties ot phrasing Tr ses auperfuous 9 deus these Features ere in deta; a few remarks hold ufc to iunteste what hae bee contended in the course a his esearch "Vhe whnlefint pare of thie cong contain in twelve measure hit ae hal pote. 'The phrasing (inthe vice) appotons sx half notes tothe fst phrase, four tothe second, veto the third, ive anda half othe fourth thre and a alt to the ith (counting only one upbeat cighth-ote), thre tothe sth four and Talo the seventh, and five ands half tothe ending pace, One may appreciate the siythmc abit of the third phrase o another bat anda forthe shit produced though the beginning of the litle canon in mesures 6 and 7 ‘Brahms’ doin a = composer of songs, chamber music and symphonies fn 10 be gulied as epiere. The feedom of his language would be las spring were he « dramatist, Hie infunce has steady proved a further evelopment of the musical language tovard an unreseted, though wel- balanced presentation of musica eas, But, curiously, the mero his ahiewe- ‘ments will shine brighter when more and more are incorporated into he dramatic technique. The opera compener will then become able to renounce a makeshift technique which is shortcoming aot only in the opera of the geet pre= \Wagnerans. As the conbuton ofthe singeractor to the dramatic exprion we 4s only part of the dram, the orchestra at fist only an accompanying factor, tas developed ito dominant one. Te not only lustre mond, character nd ction, but alo determines the tempo ofthe action, aad, trough is or formal ‘ondtions, extends or limits all that happens. In aede to realize the conse= ‘quences of the orchesua's predominance, one mast remember the frequent epttions of text in pre-Waguerian operas. ‘They sere to coespond to the ‘ued towards expansion of the form eiinated i the orchests, ‘Ten there are those oceations when a melody doesnot accommodate tothe text. These are the plas where the singe dels on the dominant of the chotd wile the oxchevtra ontnuer to build wp the formal and thematic elaborations of hi pat, These ae the places in more recent works where the orchestra plays lke symphony, showing litle regard fr the requizemeats of the singer, ard—an utramodem preudo-progresive accomplishment-—complete derepard for seat i to be ‘expressed by the tage, word and voice, smetimes even counteracting the ‘Applying here Brahms’ contributions to an unrestricted musical anguage will etuble the opera composer to overcome the meses! handicaps of his beats prose: dhe production of meoies and other srututl elements wil ‘not depend on the versifcation, onthe mete, o on the absence of ponies for repetitions, There wl he no expansion necesny fr mere formal atone snd changes of mood or character wil not endanger the ganization. Te singet ‘vl be granted the opportunity to sing and tobe heard; he will no be fored to recite on a singe note bu wil be offered melodic lines of interest; in« word, he wll nt be merely the ene who pronounces the words i order to make the sction understandable He wil be a singing nstment ofthe performance, 1 semi this ot wihfl ehinking thet some progress has aleady lbw ade inthis diteton, some progres inthe direction toward an nsec sical language which was innugursted by Bras dhe Progresine