Our dream: to make the world's treasury of classical music accessible for everyone. 22, Quartet for violin, clarinet, tenor saxophone and piano (1930), Op. Beginning with the 1950s, however, Webern’s music was acclaimed by a young generation of composers, among them Pierre Boulez and Karlheinz Stockhausen, as the “cornerstone” and model for a new epoch, and acknowledged masters such as Igor Stravinsky joined in the accolade. With the Drei Geistliche Volkslieder (1925) he used Schoenberg's twelve tone technique for the first time, and all his subsequent works used this technique. Formal plans, revealing definite extramusical associations, preface sketches to various instrumental compositions, even in the later period. He also enjoyed the music of Hector Berlioz and Georges Bizet. 7, Settling Scores: Richard Taruskin Explores the Dark Side of Music, 1934, Alban Berg, and the Shadow of Politics: Documents of a Troubled Year, Analyzing Atonal Music: Pitch-class Set Theory and Its Contexts, A Survey of Webern's Life and Compositional Vocabulary, Classical View: How Talented Composers Become Useless, The Danger of Music and Other Anti-Utopian Essays, Sämtliche Werke/Complete Works/L'Œuvre complète/L'opera completa, Neue Perspektiven. Jahrhundert, Der junge Webern. In Klagenfurt, Edwin Komauer instructed him in the rudiments of musical theory, as well as in piano. 30, in Winterthur, Switzerland in 1943. 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. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Křenek, and even Schoenberg himself. Webern’s father, a mining engineer, rose to the highest rank of his profession, becoming chief of mining in the Habsburg government. The association proved to be a decisive influence. "Bedeutungsstrukturen: zu Anton Weberns 'alpinen' Programmen.". In 1911 Webern married Wilhelmine Mörtl, the daughter of his mother’s sister. The two late Cantatas, for example, use larger ensembles than earlier pieces, last longer (No. 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.[13][14]. Krasner had even revisited frequently, hoping to convince friends (e.g., Schoenberg's daughter Gertrude and her husband Felix Greissle) to emigrate before time ran out. [76][77][78] 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. He also wrote some important chamber works, including the String Quartet (1905). 5, on Schoenberg's subsequent piano piece Op. Nature worship, from mountain grandeur to the microcosmos of flowers, influenced his creative thinking. A richer understanding of Webern began to emerge in the later half of the 20th century, notably in the work of scholars Kathryn Bailey, Julian Johnson, Felix Meyer, Anne Shreffler, as archivists and biographers (most importantly Hans and Rosaleen Moldenhauer) gained access to sketches, letters, lectures, audio recordings, and other articles of or associated with Webern's estate. Paradoxically, this product of hermetic constructivism seems infused with intense emotion, that emotion evenly diffused across the whole surface of the music. [33][34], Violinist Louis Krasner painted not a sentimental portrait but one imbued with a wealth of factual and personal detail for its publication in 1987, describing Webern as clearly naive and idealistic but not entirely without his wits, shame, or conscience; Krasner carefully contextualizes Webern as a member of Austrian society at the time, one departed by Schoenberg and one in which the already pro-Nazi Vienna Philharmonic had even refused to play the late Berg's Violin Concerto. [90] In them, tonality — useful for communicating direction and narrative in programmatic pieces — becomes more tenuous, fragmented, static, symbolic, and visual or spatial in function, thus mirroring the concerns and topics, explicit or implicit, of Webern's music and his selections for it from the poetry of Stefan George and later Georg Trakl. The novel aspects of his style (melodic and harmonic fragmentation, wide intervallic leaps, unusual use of dissonance and timbres, ascetic sparseness of texture, and extreme conciseness of form) at first disconcerted those conditioned to the opulence of the late Romantic era (e.g., Richard Wagner operas, Anton Bruckner and Mahler symphonies, and Richard Strauss tone poems). This gives Webern's work considerable motivic unity, although this is often obscured by the fragmentation of the melodic lines. Anton Webern (1883-1945) was a modernist Austrian composer and a member of what is called the Second Viennese School. In return for this support, Webern dedicated the work to him. "[46], 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,[37] as well as describing it sardonically as "heart-breaking". Anton von Webern was born in Vienna on Dec. 3, 1883, to the mining engineer Karl von Webern and his wife, Amalia. 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. His mature works, using Arnold Schoenberg's twelve-tone technique, have a textural clarity and emotional coolness which greatly influenced composers such as Pierre Boulez, Luigi Nono, and Karlheinz Stockhausen. In 1908, Webern launched a career as a conductor, taking a position at Bad Ischl. passionately". 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. After graduating, he took a series of conducting posts at theatres in Ischl, Teplitz, Danzig, Stettin, and Prague before moving back to Vienna. ... Away with Pathos! [9] However, his influence on later composers, and particularly on the post-war avant garde, was immense. [4] As a result of official disapproval, he found it harder (though at no stage impossible) to earn a living, and had to take on work as an editor and proofreader for his publishers, Universal Edition. Tsang, Lee (2002). During intermission he turned to the concert master and said: "You know, Herr Gutmann, the phrase there in measure so-and-so must be played. The soldier responsible, army cook Pfc. 16; and monodrama Erwartung, Op. [38] Görgi and his family were left behind for their safety when Webern fled on foot with his family to Mittersill, about 75 km. President, Spokane Conservatory of Music and Allied Arts, Inc., Washington. 31, Cantata No. Anton (von) Webern was one of the key figures in the so-called Second Viennese School. "Anton von Webern". 1 for soprano, mixed choir and orchestra, on a poem by Hildegard Jone (1938–39), Op. away, for safety of their own in light of the coming Russian invasion; Amalie, one of Webern's daughters, wrote of '17 persons pressed together in the smallest possible space' upon their arrival.