Variaciones para Orquesta.

Las Variaciones para orquesta Op. 31. fueron compuestas entre 192728 por ArnoldSchoenberg. Es una obra completamente dodecafnica.
Las Variaciones para Orquesta Op. 31 son total son
nueve variaciones sobre un tema, junto con una introduccin y un final.
1 Introduktion. Mig, ruhig 1:30
2 Thema. Molto moderato 1:01
3 Variation 1. Moderato 1:15
4 Variation 2. Langsam 1:31
5 Variation 3. Mig 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. Mig schnel 5:22
Comentarios:
1. Representa una buena muestra de todo lo que se puede lograr con el
mtodo dodecafnico en el plano orquestal. Es una msica bastante
abstracta y carente de meloda pero que posee una estructura interna
muy slida. Se percibe un aire de libertad en las series formadas de doce
notas, pues el timbre de los instrumentos, el tiempo y la dinmica no
estn regidos por leyes de tipo matemtico y son de libre eleccin por el
compositor.
2. En esta obra, estructurada bajo los moldes clsicos, Schoenberg deja
atrs las prodigiosas combinaciones de contrapunto y armonas extremas
de las primeras obras, creando texturas ms ligeras en donde apenas
sobresalen algunas lneas meldicas, lo cual definir de aqu en adelante
su estilo de composicin de msica serial. Las series son modificadas en
estas variaciones en cuanto a ritmo y meloda.

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 Furtwngler, 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.
Schoenbergs 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 Bachs 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 Beethovens Eroica Variations and
Brahmss 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 Bachs name can be spelled out musically. The
Introduction to Schoenbergvs 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 Schoenbergs hauptstimme marking that he
used to point out the principal music lines in his often-dense scores. Much of
the joy in analyzing Schoenbergs 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 Mig
(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 Listesso 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 Mig
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.