The compositions of phase 3 could hardly contrast more with those of the previous period. As a whole, these works are not well known, though they arguably represent the most fertile period in Dallapiccola’s development. In general, they are more complex formally, more intricate rhythmically, and more expansive in size and scope. They are also more rigorous, more dramatic in terms of expression, and more variegated in their configurations and textures. Most important, they demonstrate a complete absorption of Webernian techniques, an increased reliance on Schoenbergian techniques, and several rhythmic and timbral innovations that have no precedents in the Second Viennese School.

In terms of specific techniques, the twelve-tone writing becomes even more flexible and the handling of rhythm more sophisticated and assured. The metric framework makes more use of floating rhythms, with few downbeat attacks, many ties over the bar line, numerous syncopations and cross accents, rapidly changing meters, and a multitude of triplets, quintuplets, and rapid flurries of notes. Individual movements often shift back and forth—with little or no transition— between Webernian and Schoenbergian soundscapes: passages based on two- and four-voiced polyphonic designs alternate with passages based on homophonic blocks of hexachords or cross partitions of various sizes; and sparse textures with well-defined pitch content are punctuated with thick textures with diffused pitch content. Such stark juxtapositions and extreme shifts in texture and dynamics are often jarring. But they help text painting, as they allow Dallapiccola to transition effortlessly among different partitioning schemes, or “topics,” on a line-by-line or even a word-by-word basis.

The works of phase 3 still use Webernian techniques, especially symmetry, which occurs in a wide variety of contexts. Palindromes structure individual rows, pairs of rows, phrases, sections, and even entire movements; axial inversion in pitch- and pitch-class space occurs with both even and odd index numbers. One property shared by many of the source rows is that of RI-symmetry. To illustrate, example 3.1 compares the row of Webern’s Cantata No. 1 (Op. 29) with the series of Cinque canti, Requiescant, and Dialoghi.

Pitch realizations of the rows are provided in levels (a) through (d). Each row is RI-invariant, meaning that it can be transformed into itself under some RI operation.