anton webern biography
anton webern biography
2 around sixteen), and are texturally somewhat denser. During these years Webern had continued to write song collections (for example, Four Songs, Op. ", Musicologist Richard Taruskin describes Webern accurately if vaguely as a pan-German nationalist but then goes much further in claiming specifically that Webern joyfully welcomed the Nazis with the 1938 Anschluss, at best extrapolating from the account of his cited source Krasner and at worst exaggerating or distorting it, as well as describing it sardonically as "heart-breaking".  When Webern's Piano Variations were performed at Darmstadt in 1948, young composers listened in a quasi-religious trance.  As a result of official disapproval throughout the '30s, both found it harder to earn a living; Webern lost a promising conducting career which might have otherwise been more noted and recorded and had to take on work as an editor and proofreader for his publishers, Universal Edition.  Many juvenilia remained unknown until the work and findings of the Moldenhauers in the 1960s, effectively obscuring and undermining formative facets of Webern's musical identity, highly significant even more so in the case of an innovator whose music was crucially marked by rapid stylistic shifts. , Webern's last pieces seem to indicate another development in style. 18–20, Schoenberg turned back and revived old techniques, very self-consciously returning to and transforming tradition by the concluding songs of Pierrot lunaire (1912), Op. In 1904, he reportedly stormed out of a meeting with Hans Pfitzner, from whom he was seeking instruction, when the latter criticized Gustav Mahler and Richard Strauss. One element that is typical is the form itself: the passacaglia is a form which dates back to the 17th century, and a distinguishing feature of Webern's later work was to be the use of traditional compositional techniques (especially canons) and forms (the Symphony, the Concerto, the String Trio and String Quartet, and the piano and orchestral Variations) in a modern harmonic and melodic language. "The Atonal Music of Anton Webern (1998) by Allen Forte". But well beyond these lieder alone, all of Webern's music may be said to possess such concerns and qualities, as is evident from his sketches, albeit in an increasingly symbolic, abstract, spare, introverted, and idealized manner. For example, Boulez's "complete" recording of Webern's music yielded more to this aesthetic the second time after largely missing it the first; but Eliahu Inbal's rendition of Webern's Symphony, Op. Moldenhauer, Hans, and Rosaleen Moldenhauer. This interest in early music would greatly influence his compositional technique in later years by employing palindromic form on both the micro- and macro-scale and the economical use of musical materials. In 1902, Webern began attending classes at Vienna University. But with Opp. 20, was both the first purely instrumental work using the twelve-tone technique (the other pieces were songs) and the first cast in a traditional musical form. 11, No.  He never used his middle names and dropped the von in 1918 as directed by the Austrian government's reforms after World War I. In return for this support, Webern dedicated the work to him. In 1926, he took on a teaching post at the Jewish Cultural Institute for the Blind. Noller, Joachim. Robert Schumann's "Mondnacht" is an iconic example; Eichendorff, whose lyric poetry inspired it, is not far removed from the poets (e.g., Richard Dehmel, Gustav Falke, Theodor Storm) whose work inspired Webern and his contemporaries Alban Berg, Max Reger, Arnold Schoenberg, Richard Strauss, Hugo Wolf, and Alexander Zemlinsky. Except for the violin pieces and a few of my orchestra pieces, all of my works from the Passacaglia on relate to the death of my mother. His uncompromising championship of a new aesthetic led him to pursue his path relentlessly, bringing to fruition a musical syntax entirely his own. In 1924 Schoenberg formulated the 12-tone method of composition—the system in which a basic “row,” formed from the 12 independent tones of the chromatic scale, is used melodically and harmonically through the devices of inversion, retrograde progression, and transposition, allowing for a total of 48 possibilities in which the chosen row may appear. Webern's music was very influential on postwar European composers. This interest in early music would greatly influence his compositional technique in later years, especially in terms of his use of palindromic form on both the micro- and macro-scale and the economical use of musical materials. After a last theatre season in Prague (1917–18), he settled in Mödling, near Vienna, teaching privately and acting as supervisor for the Schoenberg-founded Society for Private Musical Performances (1918–22). Anton Webern, June 23, 1910, writing to Schoenberg (and to be much later echoed by Adorno, who described Webern as "the only one to propound musical expressionism in its strictest sense, carrying it to such a point that it reverts of its own weight to a new objectivity), Webern's compositions are concise, distilled, and select; just thirty-one of his compositions were published in his lifetime, and when Pierre Boulez later oversaw a project to record all of his compositions, including some of those without opus numbers, the results fit on just six CDs. Omissions? 17.  Thus when Boulez first oversaw a project to record "all" of Webern's music, not including the juvenilia, the results fit on three rather than six CDs. After spending much of his youth in Graz and Klagenfurt, Webern attended Vienna University fro… After the war, Webern, along with Berg, took part in Schoenberg's Society for Private Musical Performances, an organization dedicated to the performance of modern works. He also enjoyed the music of Hector Berlioz and Georges Bizet.  However, his influence on later composers, and particularly on the post-war avant garde, was immense. Webern's death nearly a half year after the end of the war in Europe occurred in a freak incident in Mittersill (near Salzburg) when an American soldier mistakenly shot him while he was on an extended excursion to visit his daughter. , Webern was survived by his wife, Wilhelmine Mörtl, and their three daughters. After the Society for Private Musical Performances was dissolved, he conducted several choirs, notably the Singverein, a lay group especially organized to perform masterworks, such as Gustav Mahler’s Symphony No. Nature worship, from mountain grandeur to the microcosmos of flowers, influenced his creative thinking. , George Benjamin, describing Webern's Symphony, Op. 1 for soprano, mixed choir and orchestra, on a poem by Hildegard Jone (1938–39), Op. " These youthful impressions are in some, but not complete or altogether necessarily very significant, contrast to the considered opinions of Webern in the 1930s, by then a decided nationalist who, as Roland Leich described, "lectured at some length on the utter supremacy of German music, emphasizing that leading composers of other lands are but pale reflections of Germanic masters: Berlioz a French Beethoven, Tchaikovsky a Russian Schumann, Elgar an English Mendelssohn, etc. As might be expected, the young Webern was enthusiastic about the music of Ludwig van Beethoven, Franz Liszt, Wolfgang Amadeus Mozart, Franz Schubert ("so genuinely Viennese"), Hugo Wolf, and Richard Wagner, visiting Bayreuth in 1902. As a student and significant follower of Arnold Schoenberg, he became one of the best-known exponents of the twelve-tone technique; in addition, his innovations regarding schematic organization of pitch, rhythm and dynamics were formative in the musical technique later known as total serialism. Letters document their correspondence in many subsequent years, and she (among others) would in turn provide him with facilities to teach private lessons as a convenience to Webern, his family, and his students..
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