The Concerto for Piano and Orchestra op. 42 of Arnold Schoenberg: An Incombatibility between the Dodecaphonic and the Rhythmic-Melodic Thematic Material
This article’s aim is to show that in Schoenberg’s Piano Concerto op. 42 an incombatibility between the dodecaphonic thought of the composer and a free, independent of any system music thought appears. And this is argued as following: during the compositional procedure a rhythmic-melodic pattern emerges, which has an intense thematic character and the melody of which originates from the row, but its rhythmic vehicle does not fit with the notes of the initial row. The most important fact, though, is that Schoenberg does not adapt the rhythmic pattern to the row but, on the contrary, makes it independent, investing it with melodic patterns which do not correspond to the successive notes of the row. This incombatibility between rhythm and dodecaphonic music material is the result of the incombatibility between the dodecaphonic and the independent from the principles of the dodecaphonic music thought, which, in this particular work, comes out during the compositional procedure, creating the main theme par excellence of the Concerto through the above mentioned rhythmic pattern.