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Anton Webern's Concerto for Nine Instruments, Op. 24 (German, ''Konzert für neun Instrumente, op. 24'', 1934) is a twelve-tone concerto for nine instruments: flute, oboe, clarinet, horn, trumpet, trombone, violin, viola, and piano; containing three movements: I. Etwas lebhaft, II. Sehr langsam, and III. Sehr rasch; and composed with a derived row, "often cited (as by Milton Babbitt (1972) ) as a paragon of symmetrical construction":〔Bailey (1996), p.246.〕 In the words of Luigi Dallapiccola: "a work of incredible conciseness . . . and of unique concentration . . . . Although I did not understand the work completely, I had the feeling of finding an aesthetic and stylistic unity as great as I could wish for. (September 5, 1935 )".〔Bailey, Kathryn (1996). "Symmetry as Nemesis-Webern and the First Movement of the Concerto, Opus 24", p. 245, ''Journal of Music Theory'', Vol. 40, No. 2 (Autumn), pp. 245-310.〕 The second movement "limits quite severely the values of many domains," for example featuring "only two durational values (quarter and half note())," and, partly as a result, "features great uniformity in texture and gesture".〔Hasty, Christopher (1981). "Segmentation and Process in Post-Tonal Music", pp. 63-64, ''Music Theory Spectrum'', Vol. 3, (Spring), pp. 54-73.〕 The tone row may be interpreted as: 019, 2te, 367, 458〔 The opening displays "(Concerto's ) distinctive trichordal structuring," four of which "comprise an aggregate," or partition.〔Alegant (2001), pp. 2–3.〕 "The six combinations of (partition's ) trichords generate three pairs of complementary hexachords".〔Alegant (2001), p. 4.〕 "Webern takes full advantage of this property (fourfold degree of symmetry ) in the Concerto," that under four appropriate transformations (T0T6I5IB), the tone row maintains its unordered trichords (j=019,091,etc., k=2te, l=367, and m=458). The hexachord featured is sometimes called the 'Ode-to-Napoleon' hexachord (014589).〔Van den Toorn, Pieter C. (1996). ''Music, Politics, and the Academy'', pp. 128-29. ISBN 0-520-20116-7.〕 "The Latin square...clearly shows the built in redundancy of () partition," four, and, "needless to say, Webern takes full advantage of this property in the Concerto":〔Brian Alegant, "Cross-Partitions as Harmony and Voice Leading in Twelve-Tone Music", ''Music Theory Spectrum'' 23, no. 1 (Spring 2001), pp. 1–40, citation on p. 5.〕 For example, I5 = 548, 376, 2et, 109 ==Sources== 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Concerto for Nine Instruments (Webern)」の詳細全文を読む スポンサード リンク
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