How did Anton Webern divide melodies among different instruments in his mature works?

In his mature works, Anton Webern’s approach to melody is characterized by extreme fragmentation and the use of wide intervallic leaps. Rather than presenting melodies in a continuous, linear fashion, Webern often distributes the notes of a single melodic line across different instruments, a technique that contributes to the pointillistic texture of his music.1

This method of dividing melodic lines—often referred to as Klangfarbenmelodie (tone-color melody)—allows him to emphasize the individual timbre of each instrument as it contributes a single note or a small group of notes to the overall musical phrase. By breaking melodies into these isolated, sparse components, Webern achieved a high degree of formal conciseness and intensity, moving away from the lush, continuous textures of the late Romantic era toward a style defined by ascetic sparseness and extraordinary sensitivity to color.1