anton webern expressionism compositions
From 1918 to 1921, Webern helped organize and operate the Society for Private Musical Performances, which gave concerts of then-recent or -new music by Béla Bartók, Berg, Ferruccio Busoni, Debussy, Erich Wolfgang Korngold, Mahler, Maurice Ravel, Max Reger, Erik Satie, Strauss, Stravinsky, and Webern himself. [73] Although Webern's music changed over time, as is often the case over a long career, it is typified by very spartan textures, in which every note can be clearly heard; carefully chosen timbres, often resulting in very detailed instructions to the performers and use of extended instrumental techniques (flutter tonguing, col legno, and so on); wide-ranging melodic lines, often with leaps greater than an octave; and brevity: the Six Bagatelles for string quartet (1913), for instance, last about three minutes in total. [39] At the age of sixty (i.e., in Dec. 1943), Webern writes that he is living in a barrack away from home and working from 6 am to 5 pm, compelled by the state in a time of war to serve as an air-raid protection police officer. Anton Webern, in full Anton Friedrich Wilhelm von Webern, (born Dec. 3, 1883, Vienna, Austria—died Sept. 15, 1945, Mittersill, near Salzburg), Austrian composer of the 12-tone Viennese school. [15] As such, the divisions employed below are only a convenient simplification. Erlösung (1:00)III. One has thousands simultaneously. They included Anton Webern and Alban Berg, who were greatly influenced by Schoenberg. Composer Robert Beyer [de] thus criticized the approach of early serialists to Webern's music as reductive and narrowly focused on some of Webern's apparent methods rather than on his music more generally, especially neglecting timbre in their typical selection of Opp. [84] This shift is distinctly pronounced in a letter Schoenberg wrote to Busoni, which describes a rather Webernian aesthetic: Harmony is expression and nothing else. Noller, Joachim. Paradoxically, this product of hermetic constructivism seems infused with intense emotion, that emotion evenly diffused across the whole surface of the music. 2 for soprano, bass, choir and orchestra, on a poem by Hildegard Jone (1941–43), "Kunfttag III. 13, Vier Lieder for voice and orchestra (1914–18), Op. Cavallotti, Pietro, and Simon Obert, and Rainer Schmusch (eds.). 1899– Webern writes his first compositions. The String Trio (1926–1927), Op. He continued to live in this apartment with this family until 1969. 6, No. Whereas Berg's Lyric Suite may have influenced the third and fourth string quartets of Bartók in 1927 via an ISCM concert (in which Bartók himself performed his own Piano Sonata),[108] Webern's influence on later composers from what became the Hungarian People's Republic and from other countries behind the Iron Curtain was sometimes mediated or obstructed by politics. [27], There is, moreover, significant political complexity to be treated, more than enough to complicate any consideration of individual culpability: it is imperative to note that some Social Democrats viewed the National Socialists as an alternative to the Christian Social Party and later Vaterländische Front in the context of reunification with Germany; for example, Karl Renner, the chancellor who served in both the First (1919–33) and Second (post-1945) Austrian Republics, favored a German Anschluss as an alternative to the then Austrofascist regime, under which Berg, Webern, and the Social Democrats suffered. In return for this support, Webern dedicated the work to him. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Křenek, and even Schoenberg himself. Listen: “Sehr langsam” Please listen to the following audio file to hear a sample of “Sehr langsam” from String Trio Op. In 1949, Schoenberg still remembered being "intoxicated by the enthusiasm of having freed music from the shackles of tonality" and believing with his pupils "that now music could renounce motivic features and remain coherent and comprehensible nonetheless".[85]. "[citation needed] 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. [25], There are different descriptions of Webern's attitude towards Nazism; this is perhaps attributable to its complexity, his internal ambivalence, his prosperity in the preceding years (1918–1934) of post-war Red Vienna in the First Republic of Austria, the subsequently divided political factions of his homeland as represented in his friends and family (from Zionist Schoenberg to his Nazi son Peter),[26] as well as the different contexts in which or audiences to whom his views were expressed. At fourteen, he began his formal training in music and wrote his first composition at the age of sixteen. Find Anton Webern composition information on AllMusic Anton Webern (1883-1945) was a … Krasner eventually left more permanently, after a 1941 incident wherein he felt only his US passport saved him from both locals and police. [citation needed], Webern published little of his early work in particular; Webern was characteristically meticulous and revised extensively. Webern was born in Vienna, then Austria-Hungary, as Anton Friedrich Wilhelm von Webern. Louis Krasner, as told to Don C. Seibert and published in Fanfare in 1987, elaborating on Webern's "however" clause above;[18] note Krasner's use of "Bolshevik" in a sense distinctly qualified as derogatory, echoing language ("cultural Bolshevism"), itself drawn from anti-Bolshevik propaganda largely on the Right, that had been deployed against Webern et al. 29, Cantata No. Anton Webern discography and songs: Music profile for Anton Webern, born 3 December 1883. 10 (1911–13) are from this period. Anton Webern in Stettin, October 1912 Anton Webern (born Vienna 3 December 1883; died Mitterill 15 September 1945) was an Austrian composer. [79], Webern's earliest works consist primarily of lieder, the genre that most testifies to his roots in Romanticism, specifically German Romanticism; one in which the music yields brief but explicit, potent, and spoken meaning manifested only latently or programmatically in purely instrumental genres; one marked by significant intimacy and lyricism; and one which often associates nature, especially landscapes, with themes of homesickness, solace, wistful yearning, distance, utopia, and belonging. 4,[86] in which, rather unusually for Webern, there is no silence or rest until a pause at the concluding gesture. Indeed, a recurring theme of Webern's World War I settings is that of the wanderer, estranged or lost and seeking return to or at least retrieval from an earlier time and place; and of some fifty-six songs on which Webern worked 1914–1926, he ultimately finished and later published only thirty-two set in order as Opp. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was in the core of those in the circle of the Second Viennese School, including Theodor W. Adorno, Heinrich Jalowetz, and Ernst Krenek. The soldier responsible for his death was U. S. Army cook PFC Raymond Norwood Bell of North Carolina, who was overcome by remorse and died of alcoholism in 1955.[69]. 2007. [citation needed], Webern's music does not fall into clearly demarcated periods of division because the concerns and techniques of his music were cohesive, interrelated, and only very gradually transformed with the overlap of old and new, particularly in the case of his middle-period lieder. During and shortly after the post-war period, then, Webern was posthumously received with attention first diverted from his sociocultural upbringing and surroundings and, moreover, focused in a direction apparently antithetical to his participation in German Romanticism and Expressionism. However, it bears little relation to the fully mature works he is best known for today. "How much I owe to your Pierrot", he wrote Schoenberg upon completing a setting of Georg Trakl's "Abendland III", Op. Other composers that have been associated with expressionism are Krenek (the Second Symphony), Paul Hindemith ( The Young Maiden ), Igor Stravinsky ( Japanese Songs ), Alexander Scriabin (late piano sonatas) (Adorno 2009, … Taruskin's "reactionary historicist" project, Cox argues, stands in opposition to that of the Second Viennese School, viz. He never used his middle names and dropped the "von" in 1918 as directed by the Austrian government's reforms after World War I. The works with opus numbers are the ones that Webern saw fit to have published in his own lifetime, plus a few late works published after his death. "Anton von Webern". passionately". As a result, Schoenberg's Violin Concerto of 1934 (or 1935)–36 continued to bear a dedication to Webern, although whittled down as a result of Schoenberg's continuing suspicions or, indeed, on Webern's behalf, i.e., to protect Webern from further Nazi suspicion and persecution. In part because Webern had largely remained the most obscure and arcane composer of the Second Viennese School during his own lifetime,[33] interest in Webern's music increased after World War II[103] as it came to represent a universally or generally valid, systematic, and compellingly logical model of new composition,[104] with his œuvre acquiring what Alex Ross calls "a saintly, visionary aura". Křenek had advocated for "a Catholic Austrian avante garde" in opposition to "the Austrian provincialism that National Socialism wants to force on us". Anton Webern 's music was close in style to Schoenberg's expressionism, c. 1909–13, and subsequently his music "became increasingly constructivist on the surface and increasingly concealed its passionate expressive core" (Fanning 2001). [39] Ironically, the Russians pronounced Görgi a "Nazi spy" when he was discovered due to the Nazi munitions and propaganda in the Weberns' basement store-room. In an often programmatic or cinematic fashion, Webern ordered his published movements, themselves dramatic or visual tableaux with melodies that frequently begin and end on weak beats or else settle into ostinati or the background. On 7 October 2020, at the same time, and the capitalists who controlled everything his disposal enable! 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