Webern’s choral harmony disconcerts me, too, for example at the words ‘Im Dunkel’, near the end of the First Cantata, and again in the parallel-interval passages in the fifth movement of the Second Cantata. I can see the interval logic and the purity in these constructions. And I am willing to believe that they derive from a teleological conception of form, though some might call it a mania for total serial identification. But it is harmony, after all, and in the case of the ‘Im Dunkel’ passage, banal harmony.