 21 (1928) “consists of three elaborately worked out double canons that pit two prime forms against two inversions.The texture of the first movement unfolds through constantly changing orchestration (see "Klangfarbenmelodie"), that leads Taruskin to conclude that “Webern was not interested in having his canons perceived by the listener as coherent lines.Instead they are absorbed into a kaleidoscopically fragmented texture that has often been compared to a painterly technique known as pointillism.” Listen.