Schoenberg and Stravinsky: Progenitors of Atonality and Polytonality
It may seem that Arnold Schoenberg and Igor Stravinsky were the primary innovators of atonality and polytonality respectively. However, the origins of these musical concepts are more nuanced and involve multiple composers and experimental periods.
The Origins of Atonality
Schoenberg is often credited as the progenitor of atonality, a term he himself didn't particularly like. In his view, it was absurd to suggest that his music was devoid of tonal relationships. His atonality emerged from the complex tonality of Gustav Mahler and was influenced by his student Anton Webern. While these developments are significant, they were not single-handedly invented by Schoenberg. It is believed that Franz Liszt might have been the first to write a piece of atonal music in 1885 with his Bagatelle sans tonalite.
The Emergence of Polytonality
Igor Stravinsky is known for his experiments with polytonality, particularly in his work The Rite of Spring. However, he was not alone in this exploration. Charles Ives and Heinrich Ignaz Franz Biber, among others, had experimented with polytonality earlier, using it in various contexts. Biber's work from as early as 1673 shows an interest in these techniques.
The Contenders for Progenitors
While Schoenberg and Stravinsky are central figures in the development of atonality and polytonality, the exact origins of these concepts remain somewhat unclear. Other composers, such as Liszt, Mozart, and Charles Ives, contributed significantly to the evolution of these techniques. Debussy's exploration of chord functions and Scriabin's pieces with hard-to-hear tonics also played a role in the development of atonality.
The Early Experiments
Liszt's early piece, Bagatelle sans tonalite, was one of the earliest attempts at atonality. Other precursors include Mozart's Ein Musikalischer Spass, a piece intended to be funny, and Charles Ives, who employed polytonality in the 1880s. These early experiments by various composers laid the groundwork for the more prominent works by Schoenberg and Stravinsky.
The Impact of Schoenberg and Stravinsky
Schoenberg's significance lies in his widespread influence and the development of the 12-tone system. He is primarily known for his 12-tone serial method, which was both codified and theorized in a way that other composers couldn't match. His works, such as "Pierrot Lunaire," showcase the beauty of atonality. Similarly, Stravinsky made occasional use of polytonality, but it was Darius Milhaud who became the quintessential polytonal composer, utilizing it consistently in his works.
Modern Perspectives on Atonality and Polytonality
The concepts of atonality and polytonality have since evolved, particularly in modern jazz and experimental music. Many contemporary jazz pieces can be mistaken for atonal music, even though the artists involved might not label it as such. Similarly, the use of polytonality in modern jazz, starting with Charlie Parker and Charles Mingus, has marked its place in music history.
Stravinsky's use of polytonality in works like Petrushka is an early example of its expansive use in a complex composition. This piece, despite its forward-looking nature, is highly structured and well-crafted, making it a seminal example of polytonality in early 20th-century music.
Conclusion
The development of atonality and polytonality is a rich tapestry of musical experimentation and innovation. While Schoenberg and Stravinsky are rightly celebrated for their pivotal roles, it is important to recognize the contributions of earlier composers and the broader context in which these techniques evolved. The music of Liszt, Mozart, and Charles Ives, among others, paved the way for the complex, innovative works of the 20th century.
Understanding the historical context and the many hands that shaped these musical innovations can enhance our appreciation of the depth and complexity of both atonality and polytonality.