Challenges of the short form in the Second Viennese School: A comparative study

Abstract

From 1909 to 1914, Arnold Schoenberg, Alban Berg and Anton Webern
devoted themselves to the composition of extremely short works. Based on a
comparative study of Piece no. 12 from Pierrot Lunaire Op. 21 by Schoenberg,
Piece III from Four Pieces for Clarinet and Piano Op. 5 by Berg, and Bagatelle II
from Six Bagatelles for String Quartet Op. 9 by Webern, we will examine the
reasons that led to the creation of the aphoristic form as well as the resources these
composers drew upon in order to write such innovative works. Be it a field of
experimentation, the affirmation of a thought embedded in the large form, or a
preferred means of expression, the aphoristic form incorporates several
contrasting features and emerges as a decisive moment for the composers of the
Second Viennese School.