THE BIRTH OF SERENADE, THE INSECURITY OF TONALITY

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NOURANI MOHSEN; POUYANIA ASHKAN

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Journal: Journal of Fine Arts: Performing Arts and Music Year:2016 | Volume:20 | Issue:2 Page(s): 27-34

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Title

THE BIRTH OF SERENADE, THE INSECURITY OF TONALITY

Author(s)

NOURANI MOHSEN | POUYANIA ASHKAN | Issue Writer Certificate

Keywords

ARNOLD SCHOENBERGQ2

SERENADEQ2

DODECAPHONICQ2

SONNETQ2

RETROGRADEQ2

Abstract

Serenade Op. 24 by ARNOLD SCHOENBERG was written in 7 movements for a 7-person ensemble between 1921 and 1923 featuring Clarinet, Bass Clarinet, Mandolin, Guitar, Violin, Alto and Cello. The movements have been arranged symmetrically by the composer. The 4th movement of this collection, named SONNET, includes features like a singer accompanied by the orchestra, use of poetry by Francesco Petrarch, the great Renaissance poet, use of 12-note system, and a 12-note RETROGRADE system for the singer (who is in contrast with the orchestra from the beginning). The purpose of this article is to recognize factors influencing the birth in the 4th movement of this collection of DODECAPHONIC with regards to the changes in the composer’s life and career that lead to a transformation in the system of music before him, and genuinely instigated modernization in music. Considering this, following the First Viennese School that encompassed Haydn, Mozart, and Beethoven, this school was called the Second Viennese School by the critiques. In this analysis, authors try to understand the complex ideas of the composer, and to unveil the hidden aspects of the work to enable the reader to comprehend some portrayals of the work such as the orchestral texture, the serial fragments, their overlaps and the counterpoint moves, as features of DODECAPHONIC music, in order to have a relative appreciation of the work. Furthermore, in the fourth movement, with the agency of SONNET no. 217, we see a complex interconnection between the music and the piece of poetry that is interesting enough to be considered. That is, the poem, in close connection with the texture of the piece, tries to repeat the 12-note serial, and in order to avoid repetition and to introduce variety, the composer juxtaposes each of its commencements with a new note of the serial. Throughout this trend, we can see the advent of the RETROGRADE or turning of the serial contrasted with the poem at the beginning of each hemistich. It is worth noting, however, that the mentioned symmetry first occurs in the second hemistich, since the serial is first sung by the singer in the first hemistich. With this insight, it could be said that exercising a formal alteration of the poem is not improbable by a composer like Schoenberg, because by looking at the original form of the poem and its presentation by the singer in keeping with the devised arrangements, with an analytical eye, we find that in its flow with the music, the poem has also undergone some changes. Schoenberg has exercised methods such as exchanging serial notes in different octaves using different rhythmic figures for coordination, and a better presentation of the meaning of the poem in the orchestra so to create diversity in solo line and in other instruments as well. In conclusion, this analysis identifies the 4th movement of the collection as a12-note piece that heralded the composer’s accomplishment of this technique, and the creation of a significant work called the Suite for Piano Op. 25.

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APA: Copy

NOURANI, MOHSEN, & POUYANIA, ASHKAN. (2016). THE BIRTH OF SERENADE, THE INSECURITY OF TONALITY. HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA), 20(2), 27-34. SID. https://sid.ir/paper/173221/en

Vancouver: Copy

NOURANI MOHSEN, POUYANIA ASHKAN. THE BIRTH OF SERENADE, THE INSECURITY OF TONALITY. HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA)[Internet]. 2016;20(2):27-34. Available from: https://sid.ir/paper/173221/en

IEEE: Copy

MOHSEN NOURANI, and ASHKAN POUYANIA, “THE BIRTH OF SERENADE, THE INSECURITY OF TONALITY,” HONAR-HA-YE-NAMAYESHI-VA-MOOSIGHI (HONAR-HA-YE-ZIBA), vol. 20, no. 2, pp. 27–34, 2016, [Online]. Available: https://sid.ir/paper/173221/en

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