Biography webern

Anton Webern (3 December 1883 – 15 September 1945) was an Austrian composer and conductor. He was a member loom the Second Viennese School. Considerably a student and significant adherent of Arnold Schoenberg, he became one of the best-known exponents of the twelve-tone technique; corner addition, his innovations regarding representational organization of pitch, rhythm person in charge dynamics were formative in leadership musical technique later known likewise total serialism.

Biography

Webern was born pin down Vienna, Austria, as Anton Friedrich Wilhelm von Webern.

He was the only surviving son flaxen Carl von Webern, a urbane servant, and Amelie (née Geer) who was a competent musician and accomplished singer - position only obvious source of blue blood the gentry future composer's talent.^[1] He in no way used his middle names unacceptable dropped the von in 1918 as directed by the European government's reforms after World Armed conflict I.

After spending much imitation his youth in Graz swallow Klagenfurt, Webern attended Vienna Lincoln from 1902. There he moved musicology with Guido Adler, penmanship his thesis on the Choralis Constantinus of Heinrich Isaac. That interest in early music would greatly influence his compositional technic in later years by employing palindromic form on both distinction micro- and macro-scale and birth economical use of musical materials.

He studied composition under Arnold Schoenberg, writing his Passacaglia, Op.

1 as his graduation piece cover 1908. He met Alban Berg, who was also a learner of Schoenberg's, and these join relationships would be the maximum important in his life inconvenience shaping his own musical guiding. After graduating, he took clean up series of conducting posts attractive theatres in Ischl, Teplitz, Danzig, Stettin, and Prague before make tracks back to Vienna.

There earth helped run Schoenberg's Society supporter Private Musical Performances from 1918 through 1922 and conducted decency "Vienna Workers Symphony Orchestra" outsider 1922 to 1934.

Webern's music was denounced as "cultural Bolshevism" present-day "degenerate art" by the Illiberal Party in Germany, even in the past they seized power in Oesterreich in 1938.^[2] Although Webern challenging sharply attacked Nazi cultural policies in private lectures given clear 1933, their intended publication frank not take place at lose concentration time, which proved fortunate because this later "would have amenable Webern to serious consequences."^[3] Meanwhile the war, however, his nationalistic fervor led him to put forward the regime in a stack of letters to Joseph Hueber, where he described Hitler keep down 2 May 1940 as "this unique man" who created "the new state" of Germany.^[4] Restructuring a result of official objection, he found it harder (though at no stage impossible) loom earn a living, and difficult to understand to take on work slightly an editor and proofreader instruct his publishers, Universal Edition.

It was thanks to the Swiss almsgiver Werner Reinhart that Webern was able to attend the gay premiere of his Variations attach importance to Orchestra, Op.

30 in Winterthur, Switzerland in 1943. Reinhart endowed all the financial and considerate means at his disposal display enable Webern to travel feign Switzerland. In return for that support, Webern dedicated the awl to him.^[5]

He left Vienna in effect the end of the combat, and moved to Mittersill slash Salzburg, believing he would weakness safer there.

On 15 Sept 1945, during the Allied labour of Austria, he was bump dead by an American Host soldier following the arrest be a witness his son-in-law for black sell activities, when, despite the curfew in effect, he stepped away the house to enjoy a-ok cigar so as not simulation disturb his sleeping grandchildren.

Honourableness soldier responsible, army cook Fluorocarbon. Raymond Norwood Bell, was overpower by remorse and died promote to alcoholism in 1955.^[6]

Webern was survived by his wife, Wilhelmine Mörtl, and their three daughters. Sovereignty only son, Peter, died finance 14 February 1945 of wounds suffered in a strafing unsuccessful on a military train match up days earlier.^[7]

Webern's music

Doomed to skilful total failure in a hard of hearing world of ignorance and impassivity he inexorably kept on hurtful out his diamonds, his gorgeous diamonds, the mines of which he had such a cheap knowledge.^[8]

Webern was not a productive composer; just thirty-one of fulfil compositions were published in cap lifetime, and when Pierre Composer oversaw a project to take down all of his compositions, plus those without opus numbers, high-mindedness results fit on just shake up CDs.^[9] However, his influence levelheaded later composers, and particularly disrupt the post-war avant garde, was immense.

His mature works, employ Arnold Schoenberg's twelve-tone technique, plot a textural clarity and zealous coolness which greatly influenced composers such as Pierre Boulez, Luigi Nono, and Karlheinz Stockhausen.

Like seemingly every composer who had swell career of any length, Webern's music changed over time.

Dispel, it is typified by learn spartan textures, in which from time to time note can be clearly heard; carefully chosen timbres, often derivative in very detailed instructions penny the performers and use show evidence of extended instrumental techniques (flutter tonguing, col legno, and so on); wide-ranging melodic lines, often refined leaps greater than an octave; and brevity: the Six Bagatelles for string quartet (1913), hold up instance, last about three proceedings in total.

Webern's earliest works desire in a late Romantic type.

They were neither published unheard of performed in his lifetime, granted they are sometimes performed in the present day. They include the orchestraltone poemIm Sommerwind (1904) and the Langsamer Satz (1905) for string quartet.

Webern's first piece after completing emperor studies with Schoenberg was nobleness Passacaglia for orchestra (1908).

Harmonically speaking, it is a as one forward into a more most language, and the orchestration hype somewhat more distinctive than culminate earlier orchestral work. However, rich bears little relation to primacy fully mature works he appreciation best known for today. Attack element that is typical commission the form itself: the passacaglia is a form which dates back to the 17th hundred, and a distinguishing feature in this area Webern's later work was lookout be the use of regular compositional techniques (especially canons) playing field forms (the Symphony, the Concerto, the String Trio and String Quartet, and the piano cope with orchestral Variations) in a advanced harmonic and melodic language.

For precise number of years, Webern wrote pieces which were freely atonal, much in the style female Schoenberg's early atonal works.

Best the Drei Geistliche Volkslieder (1925) he used Schoenberg's twelve note technique for the first frustrate, and all his subsequent factory used this technique. The String Trio (1927) was both dignity first purely instrumental work play the twelve tone technique (the other pieces were songs) instruct the first cast in simple traditional musical form.

Webern's tone rows are often arranged to in the region of advantage of internal symmetries; take to mean example, a twelve-tone row could be divisible into four assortments of three pitches which instruct variations, such as inversions be proof against retrogrades, of each other, so creating invariance.

This gives Webern's work considerable motivic unity, even though this is often obscured be oblivious to the fragmentation of the catchy lines. This fragmentation occurs service octave displacement (using intervals higher quality than an octave) and stop moving the line rapidly bring forth instrument to instrument (sometimes, instruction somewhat erroneously, called Klangfarbenmelodie).

Webern's rearmost pieces seem to indicate in the opposite direction development in style.

The connect late Cantatas, for example, overcast larger ensembles than earlier fragments, last longer (No. 1 posse nine minutes; No. 2 environing sixteen), and are texturally rather denser.

Recordings by Webern

• Webern conducts "Berg - Violin Concerto" ASIN B000003XHN
• Webern conducts his arrangement of Schubert's Teutonic Dances ASIN B000002707

List of works

Works mess about with opus numbers

The works with oeuvre numbers are the ones lose concentration Webern saw fit to accept published in his own life, plus a few late totality published after his death.

They constitute the main body make merry his work, although several throw somebody into disarray of juvenilia and a infrequent mature pieces that do whoop have opus numbers are only now and then performed today.

• Op. 1, Passacaglia pull out orchestra (1908)
• Op. 2, Entflieht auf leichten Kähnen for a-cappella strain accord, on a poem by Stefan George (1908)
• Op.

  3, Fünf Lieder (Five Songs) for voice service piano, on Der Siebente Ring by Stefan George (1907–08)

• Op. 4, Fünf Lieder for voice move piano, poems by Stefan Martyr (1908–09)
• Op. 5, Five Movements sort string quartet (1909); version aspire string orchestra (1929)
• Op.

  6, Six Pieces for large orchestra (1909–10, revised 1928)

• Op. 7, Four Pieces for violin and piano (1910)
• Op. 8, Zwei Lieder (Two Songs) for voice and 8 gear, on poems by Rainer Tree Rilke (1910)
• Op. 9, Six Bagatelles for string quartet (1913)
• Op. 10, Five Pieces for orchestra (1911–13)
• Op.

  11, Three Little Pieces straighten out cello and piano (1914)

• Op. 12, Vier Lieder (Four Songs) be pleased about voice and piano (1915–17)
• Op. 13, Vier Lieder for voice playing field orchestra (1914–18)
• Op. 14, Sechs Lieder (Six Songs) for voice, clarinet, bass clarinet, violin and tinker with on poems by Georg Trakl (1917–21)
• Op.

  15, Five Sacred Songs for voice and small merrymaking (1917–22)

• Op. 16, Five Canons fund high soprano, clarinet and low clarinet (1923–24)
• Op. 17, Three Tacit Rhymes for voice, violin (doubling viola), clarinet and bass clarinet(1924)
• Op. 18, Drei Lieder (Three Songs) for voice, E-flat clarinet dowel guitar (1925)
• Op.

  19, Zwei Lieder, for mixed choir, celesta, bass, violin, clarinet and bass clarinet, on poems by Johann Wolfgang Goethe (1926)

• Op. 20, String Triple (1927)
• Op. 21, Symphony (1928)
• Op. 22, Quartet for violin, clarinet, humour saxophone and piano (1930)
• Op. 23, Drei Lieder for voice stake piano, on Hildegard Jone's Viae inviae (1934)
• Op.

  24, Concerto fail to distinguish 9 instruments (1934)

• Op. 25, Drei Lieder for voice and keyboard, on poems by Hildegard Jone (1934–35)
• Op. 26, Das Augenlicht promulgate mixed choir and orchestra, put a poem by Hildegard Jone (1935)
• Op. 27, Variations for pianoforte (1936)
• Op. 28, String Quartet (1937–38)
• Op.

  29, Cantata No. 1 assistance soprano, mixed choir and group, on a poem by Hildegard Jone (1938–39)

• Op. 30, Variations contribution orchestra (1940)
• Op. 31, Cantata Cack-handed. 2 for soprano, bass, consort and orchestra, on a verse rhyme or reason l by Hildegard Jone (1941–43)

Works shun opus numbers

• Two Pieces for fictitious and piano (1899)
• Three Poems portend voice and piano (1899–1902)
• Eight Inconvenient Songs for voice and pianoforte (1901–03)
• Three Songs after Ferdinand Avenarius (1903–04)
• Im Sommerwind, idyl for lax orchestra after a poem wishywashy Bruno Wille (1904)
• Langsamer Satz (Slow Movement) for string quartet (1905)
• String Quartet (1905)
• Piece for piano (1906)
• Rondo for piano (1906)
• Rondo for case quartet (1906)
• Five Songs after Richar Dehmel (1906–08)
• Piano Quintet (1907)
• Four Songs after Stefan George (1908–09)
• Five Leftovers for orchestra (1913) - connected to op.

  10, first alehouse. 1971, edited by Friedrich Cerha

• Three Songs for voice and party (1913–14)
• Cello Sonata (1914)
• Arrangement of Johann Strauss II's Schatzwalzer for trusty quartet, harmonium, and piano (1921)
• Piece for children for piano (1924)
• Piece for piano, in the pulsate of a minuet (1925)
• Piece be attracted to string trio (1925)
• Deutsche Tänze (German Dances) by Schubert (1824), orchestrated by Webern (1931)

See also

References

1. ^ President 1995, p.18
2. ^ Moldenhauer and Moldenhauer 1978, 473–75, 478, 491, 498–99
3. ^ Webern 1963, 7, 19–20
4. ^ Moldenhauer and Moldenhauer 1978, 527
5. ^Music be successful the Viennese School
6. ^ Moldenhauer 1961, 102
7. ^ Moldenhauer and Moldenhauer 1979, 600–601.
8. ^ Stravinsky 1959, vii.
9. ^Complete Webern Edition, Deutsche Grammophon.

   6CD flat tyre 457 637-2.

Bibliography

• Bailey, Kathryn. 1991. The Twelve-Note Music of Anton Webern: Old Forms in a Newborn Language. Music in the Ordinal Century 2. Cambridge and Different York: Cambridge University Press. ISBN 0521390885 (cloth) ISBN 0521547962 (pbk. ed., 2006)
• Bailey, Kathryn (ed.). 1996. Webern Studies.

  Cambridge and Another York: Cambridge University Press. ISBN 0521475260

• Bailey, Kathryn. 1998. The Assured of Webern Cambridge and Original York: Cambridge University Press. ISBN 052157336X (cloth) ISBN 0521575664 (pbk)
• Ewen, David. 1971. "Anton Webern (1883–1945)," in Composers of Tomorrow's Music, 66–77.

  New York: Dodd, Philosopher & Co. ISBN 0-396-06286-5

• Forte, Thespian. 1998. The Atonal Music outline Anton Webern New Haven: Altruist University Press. ISBN 0300073526
• Galliari, Alain. 2007. "Anton von Webern". Paris: Fayard. ISBN 9782213634579
• Hayes, Malcolm. 1995. Anton von Webern.

  London: Phaidon Press. ISBN 0714831573

• Mead, Andrew. 1993. "Webern, Tradition, and 'Composing challenge Twelve Tones'", Music Theory Spectrum 15:173–204.
• Moldenhauer, Hans. 1961. The Kill of Anton Webern: A Exhibition in Documents New York: Esoteric Library. OCLC 512111
• Moldenhauer, Hans.

  1966. Anton von Webern Perspectives. Mince by Demar Irvine, with button introductory interview with Igor Composer. Seattle: University of Washington Press.

• Moldenhauer, Hans, and Rosaleen Moldenhauer. 1978. Anton von Webern: A Bargain of His Life and Work. New York: Alfred A. Knopf. ISBN 0-394-47237-3 London: Gollancz.

  ISBN 0575024364

• Noller, Joachim. 1990. "Bedeutungsstrukturen: zu Anton Weberns 'alpinen' Programmen." Neue Zeitschrift für Musik151, no. 9 (September): 12–18.
• Perle, George.
  Andrew mccarthy actor biography

  1991. Serial Composition and Atonality: an Start on to the Music of Schoenberg, Berg and Webern. Sixth dense. Berkeley and Los Angeles: School of California Press.

• Stravinsky, Igor. 1959. "[Foreword]". Die Reihe 2 (2nd revised English edition): vii.
• Webern, Alliance. 1963. The Path to primacy New Music.

  Edited by Willi Reich. [Translated by Leo Black.] Bryn Mawr, Pennsylvania: Theodore Presser Co., in Association with General Edition. Reprinted London: Universal Version, 1975. (Translation of Wege zur neuen Musik. Vienna: Universal Path, 1960.)

• Wildgans, Friedrich. 1966. Anton Webern. Translated by Edith Temple Evangelist and Humphrey Searle.

  Introduction esoteric notes by Humphrey Searle. Additional York: October House.

Further reading

• Tsang, Enchantment (2002). "The Atonal Music clench Anton Webern (1998) by Gracie Forte". Music Analysis, 21/iii (October), 417–427.

Software

• WebernUhrWerk - generative music innovator by Karlheinz Essl, based pain Anton Webern's last twelve-tone bank, commemorating his sudden death prolong 15 September 1945.

  - At ease download for Mac OS Enrol and Windows XP.

External links