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The 'Skeleton in Schoenberg's Musical Closet': The Chequered Compositional History of
Schoenberg's Second Chamber Symphony

Author(s): Catherine Dale
Source: Journal of the Royal Musical Association , 1998, Vol. 123, No. 1 (1998), pp. 68-
104
Published by: Taylor & Francis, Ltd. on behalf of the Royal Musical Association
Stable URL: https://www.jstor.org/stable/766483
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Journal of the Royal Musical Association, 123 (1998) @ Royal Musical Association
The 'Skeleton in Schoenberg's

Musical Closet': The Chequered
Compositional History of
Schoenberg's Second Chamber
Symphony
CATHERINE DALE
REFLECTING on the composition of his First Chamber Sym

in the essay 'How One Becomes Lonely' (1937), Schoenbe
I had enjoyed so much pleasure during the composing, everythi
so easily and seemed to be so convincing, that I was sure the au
react spontaneously to the melodies and to the moods and w
music to be as beautiful as I felt it to be.
But, he continued in the same essay, 'it was not only the expectation
success which filled me with joy. It was another and a more impo
matter, I believed I had now found my own personal style of com
ing',' and he reaffirmed this view 11 years later in the essay 'On Rev
Toujours': 'Now I have established my style. I know now how I ha
compose.'2 He immediately sought to capitalize on this style and b
a second Chamber Symphony on 1 August 1906, only one month a
completing the first. By the autumn of 1907 he had produced a still
mentary continuous draft in short score of bars 1-143 and 166-251 w
is retained almost intact in the final version, with the exception of s
modifications in the orchestration and a few minor revisions in the inner
parts. In spite of his initial enthusiasm for the project, however,
Schoenberg found himself unable to complete this or any other large-
scale work for two years, and although he had begun to copy a full score
he had laid this aside in August 1908, shortly after the completion of
the Second String Quartet.
The compositional history of the Second Chamber Symphony, op. 38,
is thus bound up with at least four phases in Schoenberg's development:
its conception and fragmentary working out in 1906-8, two further abor-
tive attempts to complete it in 1911 and 1916, and its completion in 1939.
In the 1906-8 phase, however, the tonal beginnings of the Second
Chamber Symphony lay at a tangent to Schoenberg's atonal preoccupa-
tions, and from the winter of 1906-7 its composition was largely sup-
planted by that of several other works, notably the beginnings of
' Arnold Schoenberg, Style and Idea, ed. Leonard Stein (London, 1975), 30-53 (p. 49).
2 Ibid., 108-10 (p. 109).

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THE 'SKELETON IN SCHOENBERG'S MUSICAL CLOSET' 69
several songs to verses by Dehmel, C. F. Meyer,

L6ns, sketches for a chorus Des Friedens Ende (The
by Gottfried Keller, 50 bars of Kennst du das Land,
(Know'st thou the land where the citrons bloom?), fo
an opera based on Gerhard Hauptmann's Und Pi
String Quartet, op. 10 (Stefan George), begun on 9
Ballads 'Jane Grey' (Heinrich Ammann) and 'Der
(Viktor Klemperer), op. 12 (1907), the chorus Fr
(C. F. Meyer), completed in March 1907, thle Tw
dankend' and 'In diesen Wintertagen', op. 14 (190
songs from Das Buch der hdngenden Gdrten, op. 15
in March 1908. It was indeed the language of these
that of the Second String Quartet and the op. 1
Schoenberg now and demanded to be followed u
the way in which the sketches for the Second C
teract chronologically with those for several of thes
III.3
The precise means by which Schoenberg arrived a

described in numerous ways in the critical literatur
from harmonic progression to voice-leading by E
creasing consciousness of pitch-class set structure o
poser, particularly through the discovery of the m
his signature, the six-note set Eb, C, B, Bb, E
Schoenberg himself maintained that it was an
occurred directly under the influence of the poe
and he wrote in 'How One Becomes Lonely':
I had started a second Kammersymphonie. But after h
two movements, that is, about half of the whole work,
of Stefan George, the German poet, to compose music
and, surprisingly, without any expectation on my par
a style quite different from everything I had written b
the first step on a new path, but one beset with thorn
towards a style which has since been called the styl
In comparison with the works in which Schoen
this new path towards atonality, the 'establishe
Chamber Symphony indeed seems regressive w
' Sketchbook III was begun in April 1906 and originally belonge
in the possession of Schoenberg's widow, Gertrud, together w
manuscripts in Schoenberg's own handwriting (including first dr
sketchbooks and all paintings and drawings unless another owner
The Works of Arnold Schoenberg: A Catalogue of his Compositions, Wr
Newlin, London, 1962). It is currently housed at the Arnold Sch6nb
grateful thanks are due for the loan of all sketch material. The s
cover with the inscription 'Skizzen' and consists of 175 numbe
19 x 36.5 cm, which have been written on up to p. 132; between
have been cut out. Where dates of sketches are available they
Edward T. Cone, 'Sound and Syntax: An Introduction to Schoe
tives of New Music, 13 (1974), 21-40.
' Allen Forte, 'Schoenberg's Creative Evolution: The Path to Ato
(1978), 133-76.
6 Schoenberg, Style and Idea, 30-53 (p. 49).

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70 CATHERINE DALE
TABLE 1
PRINCIPAL CONTENTS OF SKETCHBOOK III
pages contents date

32 op. 38/l, sketches 1 August 1906
33 op. 38/l, continuation of sketches with the
'angefangen 14.8.1906 in Rottach'
38-9 op. 38/l, draft of bars 1-57
42-5 Und Pippa tanzt (Gerhard Hauptmann)
56 op. 10/II, sketches
57 op. 10/I, sketches 9 March 1907
58, 71 opp. 12 and 14, first drafts
74-5 op. 10/I, draft of bars 17-84
76 op. 38/I, continuation of sketches 8 July 1907
77-9 op. 38/l, draft of bars 57-143
80-5 op. 38/I1, drafts of bars 3-41, 43-55,
53-158, 86-105
87-8 op. 38/I1, sketches
90-2 op. 10/I, drafts of bars 143-5, 159-end 1 September 1907
94-5 op. 10/II, drafts of bars 53-62, 65-94
96 op. 10/II, sketches; op. 10/III (?), partial draft in
Eb minor

99-101 op. 10/II, drafts of bars 1-52, 98-132, 160-76
103 opp. 12 and 14, first drafts
105 op. 10/IV, sketches
106 op. 10/III, partial draft with a Bb major key
signature
108 op. 10/III, sketches
109 op. 10/III, draft of bars 1-25
110-11 op. 10/III, sketches; op. 10/II, drafts of bars
132-60, 177-99
113-15 op. 10/II, draft of bars 200-end 27 July 1908
116 op. 38/I1, continuation to bar 257 23 November 1911
'Fortsetzung der II Kammersinfonie angefangen
am 23.1/11.1911' ('continuation of the Second
Chamber STmphony begun on 23 November
1911')
118 op. 38, 'Fortsetzung begonnen am 6.IXII.1916' 6 December 1916
('continuation begun on 6 December 1916')
119 A slip of paper pasted to p. 119 contains the
beginning of a text for the Second Chamber
Symphony (recitation) with the title Wendepunkt
[Turning Point], Orchesterwerk von Arnold Schonberg

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Schoenberg's development, particularly in view of its ter

movement and sonata-form second, and Christian Schmidt observes in
the Preface to the Philharmonia score:
Op. 9 opened up new paths: its harmony, with its extremely tight-knit rela
tion to the motivic-thematic occurrences, thrusts out to the very limits of t
tonal system. In this respect the Second Chamber Symphony represent
regression: neither can its harmony be regarded as a further step towards t
dissolution of tonality, nor are its harmonic formations so organically root
in the structure of the musical substance as is the case in Op. 9.7
The Second Chamber Symphony, in contrast to the First, accepts its term
of tonal reference rather than constantly seeking to overthrow them,
although its rate of harmonic change appears slower and its harmo
language more conservative than those of op. 9 as a result of its m
lyrical, homophonic style, the dissonance in this work results not so muc
from the use of conventionally dissonant intervals (as was the case with
the whole tones and fourths of op. 9), although these do exist, or fr
a proliferation of appoggiaturas and suspensions with delayed resol
tions, as from the juxtaposition of distantly related tonal triads modifi
by dissonant additions and arrived at by means of uncompromisin
semitone movement in the parts. This conjunction of triadic forms
similar in principle to Bruckner's juxtaposition of entire phrases in ton
areas that would normally require considerable preparation and lin
ing. In Schoenberg, however, it is telescoped to form a vocabulary of ad
jacent chords exemplified by the theme in bars 62-7 of the first moveme
in which the movement of the parts by step leads away from and retur
to a C major triad, followed by A major and a seventh chord on C
third inversion, as shown in Example 1.
This semitone voice-leading had tended to give rise in the First Chambe
Symphony to the fourth chords that featured so prominently in this earl
work and now constituted an integral element of the 'settled style' that
Schoenberg wished to maintain in his Second Chamber Symphony. C
trary to Schmidt's assertion that the work's 'harmonic formations'
not so 'organically rooted in the structure of the musical substance
is the case in Op. 9', however, both the perfect fourths (together w
their inversion to the perfect fifth) and the semitone steps are in f
projected in both a horizontal and a vertical dimension. Indeed, Kl
Velten maintains that 'while the fifth leap stresses the tonic and thereb
suggests the tonality, the chromatic step oversteps the tonal boun
daries', and the opening theme (bars 1-11), shown in Example
demonstrates its derivation from these two intervals, the perfect fifth (
and the minor second (b). The third statement of the perfect fifth is co
tracted to the perfect fourth (c) in bar 4 and is succeeded by the semito
eb'-fb'. The direction of the semitone (b) is reversed on the final be
of bar 3, where it is followed by the perfect fourth. The descending form
of the semitone is designated as '(b)' in Example 2. This three-no
7 Schoenberg, II. Kammersymphonie, op. 38, ed. Christian M. Schmidt, Philharmonia score N
461 (Vienna, 1952), 3-11 (p. 6).
8 Klaus Velten, Sch6nbergs Instrumentation Bachscher und Brahmsscher Werke als Dokumente sein
Traditions Verstindnisses (Regensburg, 1975), 91.

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72 CATHERINE DALE
Example 1. Schoenb
62-7.
62 < >
A I 6l i
?3 14!
66
4O 6.V 4 riF
Example 2, Schoenberg, Second Ch

1-11.
Adagio
L(a)J L(b)J L(a) L(b)J L--(b)- L (b)J L(C)JL(b)JL(a)JL(b)JL
-- (b) L(c)J L(b)-L(c)JL(b) L-(b)I L(d)J L (b)I L (a)J L
9
d II 1- 6 l u I I
I 1
(a) -IL(b)-
-- ~(==- f

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TILE 'SKELETON IN SCHOENBERG'S MUSICAL CLOSET' 73
figure (b)-(c) becomes an independent motive: the initial chromatic des-

cent is protracted through two descending semitones (b) in bars 4-5; it
is restated in bars 5-6 and then again in bars 6-7, where the perfect fourth
is expanded to a minor sixth (d). The minor sixth (d) is detached from
the complete motive in bars 7-8, where it is subdivided by the semitone
d "-cO". This three-note cell thus creates a contracted form of the
preceding motive in bars 6-7 which serves to restore the original inter
val, the perfect fifth (a), in bar 8. The vertical projection of these horizo
motivic forms is expressed throughout the opening paragraph. Th
11 bars form three complementary pairs of phrases in which the secon
of each pair unfolds by means of the successive reinterpretation of
harmonic and motivic material of the first in such a way as to lea
a new harmonic area a tone or a semitone away from its predecess
The root relationships between the chords thus reflect the motivic ide
tity of the semitone (b), rising from Ab minor to A minor in bar 1 an
continuing to a half-diminished seventh chord on B1 in bar 3. The firs
phrase of the second pair returns to A minor in bar 5 and its transfor
mation in bars 5-7 unfolds a semitone bass progression c?-c,-Bb-B
reaching a chord of B minor in bar 7. The final pair of phrases liquidat
the material and leads towards the final cadence. Beginning in B minor
it moves through the related keys of FO minor and D major in bar
and 9; thefPt' of the D major chord is reinterpreted enharmonically
gb' in bar 9 beneath which the B? half-diminished seventh chord f
bar 3 returns. This gb' resolves to f', which forms part of a domin
chord in bar 10 and leads to the final cadence in the tonic key, E? min
in bar 11.
In the Second Chamber Symphony there are none of the six-part fo

chords of the type that occur in the First, and neither do the q
elements function as self-sufficient referential sonorities. Rather, i
passages that date from 1906-8 they resolve consistently to tonal tr
often serving as dominant substitutes or appoggiaturas onto dom
chords. They nevertheless continue to function as a means of articu
the principal structural divisions and new thematic statements in the
although not as consistently as in op. 9.
The first statement of the fourths occurs harmonically in bar 9 i
approach to the cadence in E? minor that articulates the end of the
theme and the start of the second in bar 11. The chord consists of db'
and ab in the violas beneath the flute gb', which serves as an appoggia
onto the f' of the dominant chord in bar 10. The fact that it is un
pinned by a bb root indicates its function as a dominant substitute
demonstrates that the quartal elements are merely dissonant addit
to a functional triad (see Example 3).
The fourths are exploited at three further junctures in the 1906-8 dr
as a means of articulating the form. In bar 22 (see Example 4) they m
the progression from the second to the third theme (B,-eb,"-ab/
gb '/gb "-(db')), but again the final Bb in the cello, although motivic i
derivation, indicates the dominant function of the chord. In bar 3
Example 5) the fourths eb/e '-ai-di "/di "'-gh '/gh" punctuate the retu
of the second theme, and in bar 47 (see Example 6) the same cho

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74 CATHERINE DALE
Example 3. Schoenb
9-10.
9 Fl.
VVlas
Example 4. Schoenber
22
A22 Cls.
Hrn 1
Vc. I (theme 2)
p3 - v
Example 5. Schoenberg,
vinIA A A
Vln I
Hrn 1
V12
Example 6. Schoenberg, Second Chamber Symphony, op. 38/l, bars

47-8.
Codetta
H
47 Fls.
~PP
Vc. I
Vc. II
Cbs.

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TIE 'SKELETON IN SCHOENBERG'S MUSICAL CLOSET' 75
articulates the codetta, progressing by step to an EL

instances the resolution of the fourth chords onto to
their function as dominant substitutes. As in bars
above), the fourths are integrated into the motivic su
ment through their linear and harmonic projectio
In bar 18 (see Example 7) the fourths complex ab-d
the melodic fourthsf"-c6 ", bb'-fq' in violins I and
step onto a dominant chord in first inversion. In
extended and the chord progresses by semitone motion
triad of C major on the final quaver of the bar, as
Example 7. Schoenberg, Second Chamber Sympho
18 Vln I
Vc. I
Vlas
Vc. II
Cbs.
Example 8. Schoenberg, Second Chamber Symphony, op. 38/I, bar 43.
43
I?IF.A
The musical and emotional conditions that obtained in1908 impelled

Schoenberg in a direction that led him away from the language of triadic
tonality into the atonal world of his second period. The sketches of the
first draft indicate clearly the precise points at which Schoenberg, unable
to reconcile the style of the work with his current preoccupations, laid
it aside to await a solution only in the 1939 phase of composition. Sketch
1298b, transcribed in Example 9, shows Schoenberg halting on a domi-
nant seventh in Eb minor in bar 140; bars 141-3, although marked out
in the sketch, remain blank, however, only to be completed in the full
draft to bar 145 in sketch 1257 (see Figure 1). In the latter sketch
Schoenberg continues with a restatement of the first five bars of the first
theme combined in counterpoint with itself in clarinets and bassoons
and the opening motive of the second theme in oboe I. In these bars
Schoenberg appears to be beginning a full restatement of the theme, but
as the reprise has already occurred in trumpet I in bar 95 he clearly wished
to avoid a further restatement and broke off in bar 145 with the note

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76 CATHERINE DALE
Example 9. Schoen
138-43; transcriptio
ed. Schmidt, 170.
138 13 140 141 142 143

i n 1 9 , -
pf
Z ltl~i / Q t / v .... " .

I II//j
8 Co.8 ---- --- ---
""Y ; ?i ; . _ 7...
. , po,+
~I-I I
.,_---,
I "
,+,..:
" ,
". .. .... p.
trOt
M i___ ...
[ :1
Figure 1. Schoenberg, Second Chamber Symphony, o

bars 141-5.

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'there follow ms. 146-165' and a calculation of the timing

Schoenberg resumed work on the Second Chamber Sym
the bars that date from this period became much more f
contained a larger incidence of dissonance and pointill
Lacking a solution to these specific problems in 1906-
work remained 'a disturbing skeleton in Schoenberg's mu
some three decades.9 For the time being the increasing pressure
towards atonality led him to regard composition as a duty rather than
a pleasure, and he maintained in an interview with Merle Armitage:
I was content as I wrote in the period of the Chamber Symphony ... Then
to compose was a great pleasure. In a later time it was a duty against myself.
It was not a question of pleasure. I have a mission - a task ... I am but the
loudspeaker of an idea.10
On 12 December 1916, however, Schoenberg declared his intention
to resume work on the Chamber Symphony in a letter to his friend and
former teacher, Alexander von Zemlinsky:
I have decided to complete my Second Chamber Symphony, which I began
in 1907 and which has been untouched up till now. Two movements have
been written: one is complete with the exception of the final bars and the
other is half-finished. I shall merge these into one movement. This is the first
part, because I plan a second part ... but it is still possible that I shall aban-
don this plan."
Schoenberg evidently did abandon it, for there is no suggestion in the
sketches of an attempt either to fuse the first two movements into one
or to write a second part. He continued in the same letter: 'I shall not
compose the work for solo instruments but shall immediately write an
entirely new score for (medium-size) orchestra.... I hope to complete [the
work] in a few days - if nothing gets in the way!'12 Schoenberg's pro-
jected 'few days' turned into 23 years, however, for it was not until 21
October 1939 that the Second Chamber Symphony was finally completed.
So precisely what were the circumstances that prevented its completion
in 1911 and 1916? What, in Schoenberg's words, 'got in the way'?
9 Glenn Gould, record notes for Schoenberg Works (conducted by Pierre Boulez), CBS
Masterworks 79349 (1982).
10 Arnold Schoenberg, 'Affirmations', cited in Schoenberg, ed. Merle Armitage (New York,
1977), 251-2.
" Arnold Schoenberg, letter to Alexander von Zemlinsky dated 12 December 1916. The
original German, cited below, is given in Zemlinsky's Briefwechsel mit Schonberg, Webern, Berg und
Schreker, ed. Horst Weber (Darmstadt, 1995), 158-9, and is translated here by the present author:
'Ich habe mich entschlossen, meine II. Kammersymphonie, die ich 1907 (!) angefangen habe
und die bis jetzt liegen geblieben ist fertig zu machen. Es sind 2 Sditze da. Der eine fertig bis
auf die Schlu3takte, der andere zur Hilfte fertig. Die verschmelze ich zu einem Satz. Das ist der
erste Teil. Ich plane ndimlich einen 2.te Teil ... aber es ist m6glich, daB ich den doch nicht
mache.'
"1 Schoenberg, letter to Alexander von Zemlinsky dated 12 December 1916. The
German is given ibid., 159-60, and is translated here by the present author: 'Ich wer
das Stiick nicht ffir Solo-Instrumente schreiben, sondern sofort eine ganz neue Part
(mittelgro3es) Orchester schreiben. .... Mit der II hoffe ich in wenigen Tagen fertig
wenn nichts dazwischen kommt!' Schoenberg's reference to the initial conception of
for solo instruments emphasizes the relationship between the 1906 draft of the Second C
Symphony and the First Chamber Symphony, op. 9. To the 15 solo instruments of t
he added a second flute, a second viola, a second cello and a double bassoon.

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78 CATHERINE DALE
The harmonic probl

kind, were not so in
by 1916 they had fo
of post-Wagnerian c
phony was conceived
a moribund gesture
native, it seemed to
having freed himself
rose to prolific dimen
Strande on 28 Februa
February, the Three
Five Pieces for Orch
monodrama Erwartun
12 September, altho
until 4 October. The i
of the latter work h
however; its express
to a specific artistic p
ble to repeat. No crea
of his own subconsc
tion of Erwartung Sc
confines of personal
As if to encapsulate
when he resumed wo
considered completin
entitled 'Wendepunk
Text zur II. Kam

(Melodram) Titel: 'W
Auf diesem Weg weit
Ein Lichtstrahl hatte
auch besonderer Natu
nur von ihrer [seiner inneren] Konstitution, sondern auch von den
Launen iuBerer Zu[Glficks]ffille, kann eine Seele gegen den
Glficksfall sich sowenig unempfindlich verhalten, wie vorher
gegen das Unglick. [und antwortet in/mit/einem zundichst]
In pl6tzlichem Umschlag antwortet sie mit [einer] fr6hlichem
[Beschwingtheit]
Behagen, erhebt sich dann mit mfichtigem Aufschwung,
trdiumt von seligen Erfiillungen, sieht sich als Sieger,
stfirmt weiter, fiihlt ihre [seine] Kraft immer mehr wachsen, und
sammelt,
im Wahn eine Welt besitzen [erobern] zu k6nnen, die sie schon
fiur die ihre hfilt, alles was in ihrer Fihigkeit liegt, um
in einem mfichtigen Anlauf eine fiberirdische Hohe zu erreichen.
' Donald Mitchell, The Language of Modern Music (London, 1963), 71.
" Passages that have been crossed out are placed in square brackets.
Text for the Second Chamber Symphony
(Melodrama Title: 'Turning Point' Orchestral Work by AS
To continue further along this path was not possible.
A ray of light had lit up a sadness of both a general

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
Was notwendigerweise geschehen mfiBte, besorgt der Zufa

wie die angesammelte Kraft ausbrechen soill, versagt sie;
ein kleines aber hinterlistiges Ereignis - ein Stfiubchen im
imstande, sie an ihrer Entfaltung zu hindern.
Dem Zusammenbruch folgt Verzweiflung, danach die Trau
erst [allgemeiner]
[wieder allgemeiner und besondrer Natur. Dann auch bes
besondrer, dann auch allgemeiner Natur. Vom afiueren
Ereignis ausgehend glaubt die Seele [ihren Ab] den Grund
in diesem zu finden, sucht ihn dann in ihrer Konstitution.
Das ist die eigentliche Vollendung dieses [des] Zusammenbruchs. Aber
das bedeutet kein Ende; ist im Gegenteil ein Anfang; ein neuer
Weg zum Heil zeigt sich, der einzige, der ewige. Ihn
zu finden war der Zweck alles vorherigen Erlebens.
Although this text is most frequently associated with the 1916 phase of
composition owing to the fact that this is the latest date of composition
that precedes it in the sketchbook, the folio on which the text is written
(1181-4), like f. 1185-", has been inserted and, since parts of the music on
these sheets date unquestionably from 1911, it is possible that the text
may also have been written before 1916.15 It begins with the symbolic
words 'To continue further along this path was not possible', and it charts
the progression of the soul from sadness through contentment to despair
and sorrow. The cause of this sorrow does not lie in external phenomena,
however, but within the soul itself, and may be perceived not as an end
but as a new beginning, a means of salvation, towards which all previous
experience was directed.
The impossibility for Schoenberg of continuing further along his par-
ticular path was apparent not only in the case of the Second Chamber
and a particular kind. Dependent [on whim] not

only on its [inner] constitution, but also on the
whims of external coincidences [strokes of good fortune], a soul can
respond to the stroke of good fortune with no less sensitivity than
it did previously to misfortune. [and responds in/with/an initially]
In a sudden reversal it answers with [a] cheerful [elation]
contentment, then rises with a mighty, soaring movement,
dreams of blessed fulfilments, sees itself as victor,
rushes on, feels its [its] power grow more and more, and,
in the illusion that it can possess [conquer] a whole world, which it already
considers its own, gathers together all that lies within its capability, to
reach a heavenly height in one mighty charge.
Chance provides what ought to come about through necessity:
just when the accumulated power should burst forth it fails;
a small but perfidious incident - a speck of dust in the clockwork - is capable of
hindering its development.
After the collapse comes despair, then sorrow. The sorrow is first [of a general]
[again of a general and particular kind. Then also partic]
of a particular, then also of a general kind. Starting from
the external incident, the soul first believes the cause [its abyss]
lies there, then seeks it in its own constitution.
That is the real completion of this [the] collapse. But that
does not mean an end; it is on the contrary a beginning; a new
way to salvation appears, the only, the eternal way. To find this
was the purpose of all previous experience.
'5 See Arnold Sch6nberg, Sdmtliche Werke, IV: Orchesterwerke: Kammersymphonien, Series B,
xi/2, ed. Christian M. Schmidt (Vienna, 1979), 202.

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80 CATHERINE DALE
Symphony, but also

tion in the period b
Die eiserne Brigade,
Orchestral Songs, o
tion which had ta
lengthy compositi
phony, testifies to
at this time and sh
composed the 30-m
'stream-of-conscio
from op. 22, the o
are arrangements of
symphony for sol
voice and orchestra of Carl L6we's Der Nock, Beethoven's Adelaide and
three songs by Schubert, and an arrangement for cello and piano
of G. M. Monn's Cello Concerto in G minor with a cadenza by
Schoenberg.
The period between 1916 and the emergence of the first serial works
in 1923 was marked by a similar dearth of original compositions, and
Schoenberg occupied himself instead with arrangements of his own
works'6 and those by other composers, including Johann Strauss,
Schubert, Busoni and Bach. The only original compositions dating from
this period were a handful of short or incomplete works written for special
occasions, such as the Weihnachtsmusik for two violins, cello, harmonium
and piano (1921); Schoenberg's major project, the oratorio DieJakobsleiter,
was left unfinished in 1922 and was resumed only later in 1944, when
it still remained incomplete.
Schoenberg's failure to bring works to completion in this period may
not have been entirely due to musical reasons, however. During the 1908
period in which progress on the Second Chamber Symphony had faltered
initially, Schoenberg had sought to express his intense inner emotion
through a second creative medium, that of painting. His subsequent in-
volvement with the artist Richard Gerstl, which led to his wife's liaison
with the latter,"7 devastated him. This event, coupled with financial
hardship which obliged him to write to Mahler begging assistance,'" the
demands of teaching, touring and conducting, his declining health and
the interruptions to his work caused by two periods of active service dur-
ing the war, impeded Schoenberg's creativity.
The problems were greater than these, however, as Schoenberg also
"" These include the string-orchestra versions of Verkldrte Nacht and the Second String
Quartet, op. 10, in 1917 and c.1919 respectively, an arrangement for chamber ensemble (with
Felix Greissle) of op. 16, nos. 1, 2, 4 and 5 in 1919, the full-orchestra version of op. 9 and an
arrangement for mezzo-soprano, 17 instruments and percussion of 'Lied der Waldtaube' from
Gurrelieder in 1922.
" See Michael Graubart, review of Stuckenschmidt, Arnold Schoenberg: His Life, World and
Work, Tempo, 111 (1974), 44-9, MacDonald, Schoenberg (London, 1976), 6-7, and H. H.
Stuckenschmidt, Arnold Schoenberg: His Life, World and Work, trans. Humphrey Searle (London,
1974), 93-7.
" Schoenberg, letter 264 to Gustav Mahler dated 2 August 1910, Arnold Schoenberg Letters,
selected and ed. Erwin Stein, trans. Eithne Wilkins and Ernst Kaiser (London, 1964), 297.

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
lacked the technical means to continue. Musically as wel

this was a time of intense searching for him. The abandon
tional tonal harmony had led him to the dissolution of
symmetries on which the recognition of musical form
Schoenberg sought to restore to his music a logical, con
that would allow him to escape the expressionist world of
reinstate a link with musical tradition. In Pierrot lunaire his retreat into
a distant, cooler, more ironic style of composition provided his mus
with a self-sufficient framework once more through a return to abstrac
forms and counterpoint.
The sketches and reworkings of the Second Chamber Symphony tha
Schoenberg made in 1911, shortly before the composition of Pierrot
demonstrate the beginnings of this tauter, more imitative style, whilst
those that date from the 1916 phase of composition reflect the contrapun
tal dexterity of Pierrot. The various stages of evolution of the second them
(from bar 11) of the Chamber Symphony from a repetitive, somewh
circuitous theme in the 1906-8 sketches, shown in Examples 10a-h,
through the more concise version in the 1911 sketches (see Exampl
10i-j) to its final form (see Example 10k) clearly illustrate this more con
cise style. In the 1916 working the contrapuntal dexterity of Schoenberg
later style is apparent in his attempt to combine not only the same motiv
in imitation with itself (see Examples 1 la-b) but also different motiv
in counterpoint with one another (see Examples llc-d).
Once again the tonal beginnings of the Second Chamber Symphony
lay at a tangent to his compositional concerns at this time, however, for
Schoenberg now sought a rational basis on which to construct his works
that would replace the structural support of the tonal system and enable
him to integrate the stylistic advances of his atonal music with the for-
mal legacy of the past. Lacking the technical means to proceed, however,
he fell silent for the remaining years of the decade, and it was not unti
1921 that he felt able to announce the discovery of the 12-note method.
By 1939 Schoenberg's music was once again approaching a turning
point, even if a less acute one than in 1908 or 1920. He maintained in
the essay 'On Revient Toujours':
I was not destined to continue in the manner of Transfigured Night or Gurrelieder
or even Pelleas and Melisande. The Supreme Commander had ordered me o
a harder road.
But a longing to return to the older style was always vigorous in m

from time to time I had to yield to that urge.19
He had 'yielded' initially in the late 1920s with a series of transcr

or arrangements of pre-existing tonal material, beginning w
orchestration of Bach's 'St Anne' Prelude and Fugue in Eb maj
552) and continuing with the arrangements of G. M. Monn's harp
concerto in D major for cello, Handel's Concerto Grosso op. 6,
Bb major for string quartet and orchestra, and the orchestr
Brahms's Piano Quartet no. 1 in G major, op. 25. There followed a
9 Schoenberg, Style and Idea, 108-10 (p. 109).

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC 12:34:56 UTC
82 CATHERINE DALE
Example 10. Schoenb

(h) transcriptions of s
Werke, IV, Series B,
sketches of theme 2, b
2, bars 11,,-19 (1939).
(a)
Violin
IIIV W 1 1 1 | /I 1 1I
ILJ Ir"
(b) i.2 L~k ,',, ' i J i k J h ; :v i fi mi,. 1 7- .i,4--6 1., :,i

r Al
--I. v i 6 m i : |J .v7 J i . ] .
r of. 1riml , L I ,4! k -I I/1 \ l ~ 'F ml ,11 1 1 1

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
Example 10 (cont.)
(c)
.. . "A,- -L"
wI V -- Ji
Bhi
(d)
I rI
I- I
I_ IiIhIrnI
[ op

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
84 CATHERINE DALE
Example 10 (cont.)
(e)
4 :, 6. i /-
9(
-3
,M ,, " - ' ., .

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
Example 10 (cont.)
(g)
(h)
"i)L 7 -1
(i)
wif 3 1
I- J -
(i) MUM W?

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
86 CATHERINE DALE
Example 10 (cont.)
(k)
Ipoco pesante
poco pesante
16
V i w
Example 11. Schoenbe

(1916), Sdmtliche Werk
(a)
(b)

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
Example 11 (cont.)
(c)
of original compositions in a tonal idiom, such as the Suite for String

Orchestra (1934) and Kol Nidre (1938), and it was within the context of
this more consonant style that Schoenberg turned, now for the last time,
to the incomplete tonal beginnings of the Second Chamber Symphony.
Indeed, he had often expressed regret at not being able to spend longer
exploring the expanded tonal style of the First Chamber Symphony, and
in a letter to Rene Leibowitz he noted the 'many unused possibilities'
it contained.20
The opportunity came for Schoenberg to return to the sketches of the
Second Chamber Symphony when he received a commission from the
conductor Fritz Stiedry for a work for the Orchestra of the New Friends
of Music he directed in New York. In spite of his initial enthusiasm for
the project, the task of returning to a work whose beginnings were in
a style that had long since become irrelevant to him appears to have been
a more daunting one than he had originally anticipated, and the dif-
ficulties he experienced in reconciling this earlier language with his pre-
sent stylistic concerns are documented in an undated letter to Stiedry:
For the past month I have been working on the Second Chamber Symphony.
I spend most of my time trying to find out: 'What did the author mean here?'
After all, in the meantime my style has become much more profound and
I have much difficulty in making the ideas which I wrote down years ago
without too much thought (rightly trusting to my feeling for design) conform
to my present demand for a high degree of 'visible' logic. This is now one
of my greatest difficulties, for it also affects the material of the piece. However,
' Schoenberg, letter 216 to Rene Leibowitz dated 4 July 1947, Arnold Schoenberg Letters, 248.

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
88 CATHERINE DALE
this material is very good; e

to be carried out in the m
Second Quartet.21
Schoenberg's musical lan

intervening years that the
sive and far-reaching revi
itial version was expanded
orchestra: 28 strings, 8 wo
modifications were by n
scoring by instrumental
of a whole new conceptio
experience of the serial w
and Handel arrangement
The 1939 version reveals a
wind and brass sections i
the heterogeneous groupin
instance combined the first violins with the flutes, first oboe and first
clarinet, and the second violins with the second clarinet and lower strings.
The final version also tends to avoid octave doublings in favour of more
sharply defined, single instrumental lines, and to extract chamber group-
ings from the enlarged orchestral ensemble. The first significant exam-
ple of Schoenberg's modification of his initial conception occurs in bars
32ff., in which the woodwind section play a repeated chromatic rising
motive in octaves and thirds against the bar 1 Hauptstimme in the horns
and repeated octave c'/c"s and c6'/cK"s in violins I and II (see Example
12). Sketch 1244 (see Figure 2) shows that the violins were originally
doubled by oboes and cor anglais, however, and this doubling was main-
tained through bar 35 with the entry of the second theme which, in the
final version, is in violins I and II and violas only, thus creating a distinct
separation between woodwind and string material. Similarly, in bar 78
(see Example 13) the Hauptstimme is transferred from the heterogeneous
string/wind combination of violin I and clarinet I in sketch 1249 (see
Figure 3) to a solo trumpet line, creating a sharper contrast and a more
clearly defined line. The point at which Schoenberg broke off work on
the second movement (bar 251) in the 1906-8 draft is illustrated in sketch
1269 (see Figure 4). It reveals a number of additions, deletions and a
date (15/1II) in a different ink from the rest of the sketch. The cello
doubling of the clarinet and bassoon is crossed out in bars 245-8, and
in bar 249 a semiquaver countermelody is inserted into violin II with
an indication that it should be doubled in viola and cello an octave lower.
This semiquaver motive is inserted into flute II in bar 250 also. In the
1939 version (see Example 14), however, the passage is rescored to reveal
a distinct separation between the two ideas and the two instrumental
sonorities: the Hauptstimme, which occurred initially in violin I, viola I,
oboe and clarinet II, is now given exclusively to the upper strings, whilst
the semiquaver countermelody is transferred to the oboes, clarinets and
bassoons.
21 Schoenberg, letter to Fritz Stiedry (undated), cited in Rufer, The Works o
Schoenberg, 64.

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
Example 12. Schoenberg, Second Chamber Sym

31-5.
31 32
a 2
Obs.
..f - --c _ L
As.
Cls.
a2
if
f ff
if
Hms
3 f -f=
VA I
31 32
Via eNt get. pw,
Vc.
Cb.I
- i# ll " I qup

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
90 CATHERINE DALE
Example 12 (cont.)
33 34 352
A. 1 , 16 k...a2 -C
Ob s. a2
HObs. I*
L 1 77
I a 2Su1~L-I-l~~
Fgs. oil, ol
120)
CI. tq I Y J ,
cresc.
Hrns Va"2
cresc.
33 34 35
Cbs.
lI l1 I
^~~~~~~ , .:_ F
fP
L lt rik,. -1%J .7 F unis. f -A A
-" ? . "
0C ,-
Vc.b . -6
" u-'is.
. L' A --A
I"I -,
.....
C.ff

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
i1212
I p -9. ~k~T
14 1J
k 'ft, I LL--bth CS1
Figure 2. Schoenberg, S
It was not only th

Schoenberg return
its overall structure
had not only consi
a fourth and fifth
solution was to aba
it with the return
end of the second. T
way thus connects t
of its immediate pr
Symphony. In anoth
The last movement is
(developed from pre
ditionally necessary
haustively in the tw
appends, so to speak
There nevertheles
movement and a dr
page of which in s
2 Schoenberg, letter to
Schoenberg, 65.

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
92 CATHERINE DALE
Example 13. Schoe

78-81.
78 79
I.s.
Ob. 1
Ob. 2
Eng. wL
hrn
Fgs.
w,.f
Tpts , "
78 79
Vln II
Via
V"IV,, ] n[ 11I J '+1'
V c. 44 -04 1- ,4"4 w +
Cb.
IDIO, 6.I 7 I+.,r. u o u,- 10C
vc.

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
Example 13 (cont.)
80 81 a2
aFs. f.
SjA A f
Obs. 1 f
If
Fgs. -: i-
Hrns Av o.D. mf
V.. I
f Al
Vc.
w1 6
L Mi
.ff

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
94 CATHERINE DALE
.
12419
'?.
I-Wr
- Y..-.
ft(6) p k, A,-S
t4.
.. . 'TT~ i. i
a~all
.. . -- ... . _ -
C I
!~ ~ r~,
' ,_ //
.,,---,-k--'-2'--'- ~
Figure 3. Schoenberg, S
After 536 pause of

January 27 1940'.2
principal concerns o
triads, voice-leading
gressions. Sketch 1
of the sequence of t
of the first draft; i
G major, C major, A
revision (sketch 12
directly from the G
replacing the func
leading by step. Thi
of dissonance thro
variation through
monics and flutter
period is reflected
permutations of m
demonstrated in s
"2 Five sketch-sheets, on
in short score on loose sh
at the Arnold Schonberg
three or four staves, to
countermelodies and har
sheet containing anothe

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
TITE 'SKEIETON IN SCHOENBERG'S MUSICAL, CI,OSET' 95
i 12_ 2 21i 256) - 251

'_, 2ri, v 243 249
Lt 117 T
ItI
A i
7~ 1 -84 1,
Figure 4. Schoenberg, Second
appear in imitation of
motive forms are nota
note rows. In sketch 12
only two notes to be r
The stylistic changes
late periods become mos
movement drafted in 1
particularly that of t
material returns. Altho
in this final phase, they
archies. Connections b
by means of voice-leadi
ficient to suggest tona
in both the late neo-tonal and the serial works of the 1930s and 1940s
thus became one of triadic harmony that existed independent
hierarchical structure of key-centred tonality, and he wrote in t
'Opinion or Insight?' (1926) of the 'paralysing' of the tradition
claims of the tonal triad:
My formal sense ... tells me that to introduce even a single tonal triad
lead to consequences, and would demand space which is not availabl
my form. A tonal triad makes claims on what follows, and, retrospect
on all that has gone before; nobody can ask me to overthrow everythi

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
96 CATHERINE DALE
Example 14. Schoen

244-51.
244 Fl. 2 245 246

Picc. [ .
Fl. 1 LI
Obs.a V II
a2
f
Vc r a2
244 2 248
Vln I
un unis.
-All (pizz.)
Sunis.
.arco
Via
244 745
AAarco
arcoH

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
Example 14 (cont.)
250 251
249 a2
Fls.
f Sf
a2
Obs.
A.- - ,t I L" '2
1 )I- -.I ' - -f f fff

Hrnsf
b. , II
Fgs.LO=
f f sf
HMSp
-C:
AJ?
249 250 1 251
4 E
if
Via lad#

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
98 CATHERINE DALE
yf 41f4 64-N 7c'
IYT .eg~,\~sr==~L i _rt"W77T -1. 4 ;t IT r~?1L~
M 4r~o
.WNW~
L I-
Y i C'' t I b~UT o
fly rb
rg~ Y -?_ JD ~lt'E?I J7Aft-
Figure 5. Schoenberg, Second Chamber Symphony, op. 38/111, sketch 1

490-505.
Example 15. Schoenberg, Second Chamber Symphony, op. 38/111;

cription of sketch 1293, Sdmtliche Werke, IV, Series B, xi/2, ed. Schmi
7ro'' _-
Example 16. Schoenberg, Seco

cription of sketch 1294, Sdmtlich
F T:m,p
IoIV
3

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TIE 'SKELETON IN SCHOENBERG'S MUSICAL CLOSET' 99
Example 17. Schoenberg, Second Chamber Symphony, op.

cription of sketch 1293, Siimtliche Werke, IV, Series B, xi/
189-90.
I .l 1 - _
I I I I
_1r I'r
. .............
__r
-7"I, !K
II I _
has gone before, just because a triad has hap

be given its due. On this point I prefer if poss
in the same way, so far as error is avoidable
tonic. Every triad to become a tonic triad. I
conclusion from the appearance of a triad, the
be forced aside on to a wrong track; but sense
saved
the me. .... as
question, I believe
soon as that to use
someone has the conso
found a t
fying or paralysing their formal claims.24
In the later period the motion by step be

ly dissonant and the texture more fragm
the harmonization of the motive in bar 1 with its return in the coda in
bars 141-4 (see Example 19), for example, reveals that in the latte
stance each note is harmonized with a distinct chord which progr
to the next by means of movement of the parts by step, and the mot
is reworked in imitation both with itself and with the initial two notes
of the second theme. The more fragmentary texture in the later port
of the work is illustrated by the harmonization in bar 467 (see Example
In the 1939 revisions fourth chords continue to function as dominant
substitutes resolving onto tonal triads; in bar 149 of the first-movem
coda, for example, a five-part fourth chord resolves onto an Eb m
triad in second inversion as a means of articulating the statement of
" Schoenberg, Style and Idea, 258-64 (p. 263).

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
100 CATHERINE DALE
Example 18. Schoenberg

cription of sketch 1298d,
192-3.
LL
r.,] , / .. . ,
[i]_
Odh 0 LZe
F ! I F {II
q-< Jr
rf 6 i~
opening m
become mu
entities in
without ton
of fourth c
by step fro
on Bb and a
ment of th
movement
and creates
equivalence
tary epilogu
motivic ges
In all Schoe
modes of th
Nidre, op. 3
exploit aspe
Buonaparte
features of
ity is either

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
TIHE SKELETON IN SCIHOENBERG'S MUSICAL CLOSET' 101
Example 19.' Schoenberg, Second Chamber Symphony, op. 38/I, ba

1-3 and 141-3.
(b)
.......... 1I! -1 ,
p41
role within the serial language, there occurs a synthesis of styles which
creates an entirely new one and is not simply a return to a 'bygone
aesthetic'.25
If the First Chamber Symphony may be held to be prophetic of th

'emancipation of the dissonance', the Second may be regarded as an
'emancipation of the consonance'. Indeed, it was only with this work that
Schoenberg once again became prepared to ascribe to a tonal composi
tion the status of a major work by assigning it an opus number. How
else is one to explain the fact that it was not until after the composition
of the Chamber Symphony that Kol Nidre, written a year earlier, received
the opus number 39? In the essay 'On Revient Toujours' Schoenberg com-
pared his own returns to tonality with the way in which the 'classic com
posers - Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Schuman
Brahms and even Wagner ... so often interpolate strict counterpoin
into their essentially homophonic style, and argued that the combin
tion of styles - and, by implication, his own combination of tonality wit
serialism - increased the expressive range of the music, for
these great masters possessed such an eminent sense of the ethical and
aesthetical requirements of their art that the problem whether this is wrong
can simply be disregarded. I had not foreseen that my explanation of th
stylistic deviation might also explain my own deviations.26
" Schoenberg, cited in Willi Reich, Schoenberg: A Critical Biography, trans. Leo Blac
(London, 1971), 49.
" Schoenberg, Style and Idea, 108-10 (pp. 108-9).

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
102 CATIERINE DALE
For, as Schoenberg explaine

around 1940: 'There is stil
major.'27
University of Hull
27 Schoenberg, cited in Dika Newlin, 'Secret Tonality in Schoenberg's Piano Concerto',

Perspectives of New Music, 13 (1974), 137-9 (p. 137).

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
Example 20. Schoenberg, Second Chamber Symph

467-8.
Molto adagio (J =69)
467 K 1. 1 468
Fis.
Obs.
Pp
1I(
Cls. p P
Fg. 1
p P~ PP (m.D.)
Tpts
Molto adagio (J =69) P
1
467 468 0 (!)
pp -
VIns. 2
Vlas 2
o 0
lptll? IA I
: ( -
Cbs.

82.49.19.160 on Fri, 11 Dec 2020 14:07:46 UTC
104 CATHERINE DALE
Example 21. Schoen

149-50.
149
A I
Example 22. Schoenberg, S

158-65.
158 159
r2L ,6 i 041." 1I I 1 6
162
Ap
-3?
"l
v-i-vim
- j v 1
b?

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The 'Skeleton in Schoenberg's Musical Closet': The Chequered Compositional History of

Schoenberg's Second Chamber Symphony

Stable URL: https://www.jstor.org/stable/766483

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The 'Skeleton in Schoenberg's

REFLECTING on the composition of his First Chamber Sym

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several songs to verses by Dehmel, C. F. Meyer,

The precise means by which Schoenberg arrived a

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pages contents date

97 op. 10/II, sketches

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Schoenberg's development, particularly in view of its ter

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Example 2, Schoenberg, Second Ch

L(a)J L(b)J L(a) L(b)J L--(b)- L (b)J L(C)JL(b)JL(a)JL(b)JL

-- (b) L(c)J L(b)-L(c)JL(b) L-(b)I L(d)J L (b)I L (a)J L

This content downloaded from

figure (b)-(c) becomes an independent motive: the initial chromatic des-

In the Second Chamber Symphony there are none of the six-part fo

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Example 6. Schoenberg, Second Chamber Symphony, op. 38/l, bars

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articulates the codetta, progressing by step to an EL

Example 7. Schoenberg, Second Chamber Sympho

Example 8. Schoenberg, Second Chamber Symphony, op. 38/I, bar 43.

The musical and emotional conditions that obtained in1908 impelled

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138 13 140 141 142 143

Z ltl~i / Q t / v .... " .

8 Co.8 ---- --- ---

Figure 1. Schoenberg, Second Chamber Symphony, o

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'there follow ms. 146-165' and a calculation of the timing

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The harmonic probl

Text zur II. Kam

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Was notwendigerweise geschehen mfiBte, besorgt der Zufa

and a particular kind. Dependent [on whim] not

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Symphony, but also

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lacked the technical means to continue. Musically as wel

But a longing to return to the older style was always vigorous in m

He had 'yielded' initially in the late 1920s with a series of transcr

9 Schoenberg, Style and Idea, 108-10 (p. 109).

This content downloaded from

Example 10. Schoenb

(b) i.2 L~k ,',, ' i J i k J h ; :v i fi mi,. 1 7- .i,4--6 1., :,i

r of. 1riml , L I ,4! k -I I/1 \ l ~ 'F ml ,11 1 1 1

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Example 11. Schoenbe

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of original compositions in a tonal idiom, such as the Suite for String

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this material is very good; e

Schoenberg's musical lan