Variations Op. 27/ii by Anton Webern. New analytical interpretation.
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Abstract
Anton Webern's conceptual foundations with respect to atonality appear ethereal and inaccessible; atonal practice was for him the manifestation of a Naturprozess towards which he felt impelled. Nevertheless, this article examines the appearance and persistence of non-tonal foundations, both in the intermediate and deeper layers of Variations Op. 27/ii; the existence of a neutralized sound space and the use of an interpolation pattern define the character of a micro-piece conceived as a tombeau for the death of Alban Berg.
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