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Until the Kinderstück for piano (1924, intended as one of a set), Klavierstück (1925), and Satz for string trio (1925), Webern had finished nothing but Lieder since a 1914 cello sonata. [362] [cz] The 1926–1927 String Trio, Op. 20, was his first large-scale non-vocal work in more than a decade.
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Anton Webern (born Dec. 3, 1883, Vienna, Austria—died Sept. 15, 1945, Mittersill, near Salzburg) Austrian composer of the 12-tone Viennese school. He is known especially for his passacaglia for orchestra, his chamber music, and various songs (Lieder).
Webern’s father, a mining engineer, rose to the highest rank of his profession, becoming chief of mining in the Habsburg government. Nobility had been conferred upon the family as early as 1574 by Emperor Maximilian II. Although the predicate von was outlawed in Austria after the 1918 revolution, and the composer’s music had to be published under the name Anton Webern, he upheld his aristocratic heritage throughout his life.
Webern’s father’s career caused the family to move to two provincial capitals, Graz and Klagenfurt, and then back to Vienna. Webern received his first musical instruction from his mother, an amateur pianist. In Klagenfurt, Edwin Komauer instructed him in the rudiments of musical theory, as well as in piano. Webern also learned to play the cello and participated in the local orchestra.
His first compositions, Two Pieces for Cello and Piano (1899) and several songs, date from the Klagenfurt period. In 1902, after graduation from the Klagenfurt Humanistisches Gymnasium, he attended performances of Wagner operas at the Bayreuth Festival, and these left a deep impression on the young musician. That fall, he entered the University of Vienna, studying musicology and composition. He received a Ph.D. degree (1906) with a dissertation on the Choralis Constantinus II of the Dutch composer Heinrich Isaac. Meanwhile, in the autumn of 1904, Webern had become a private pupil of the composer Arnold Schoenberg. The association proved to be a decisive influence. With Schoenberg, and soon also his friend the young composer Alban Berg, Webern explored new dimensions of musical expression, leading to the breakthrough that established “atonality”—a revolutionary concept abnegating the necessity of a governing tonal centre. But from the start Webern created a style distinctly his own.
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Schoenberg’s direction of Webern’s musical development ended in 1908. By then, Webern had already written many works, including the orchestral idyll Im Sommerwind (1904; antedating his study with Schoenberg), several string quartets, the songs based on poems of Richard Dehmel, the orchestral Passacaglia (1908), and the choral canon Entflieht auf leichten Kähnen (1908). These still adhere to traditional tonality, but, with the Stefan George songs (1908–09), Webern entered the realm of music no longer based on a fixed tonal centre.
- Hans Moldenhauer
58 Webern’s op. 19 is a choral setting of two poems, 1) “Weiß wie Lilien, reine Kerzen,” and 2) “Ziehn die Schafe von der Wiese,” taken from Goethe’s Chinesisch-deutsche Jahres-und Tageszeiten (1827). Webern also used Goethe’s “Gleich und Gleich,” (1917) for the fourth song in his op. 12.
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Oct 28, 2017 · Composer Samuel Andreyev analyzes Austrian composer Anton Webern's Zwei Lieder, Op. 19 (1925-26).Two ways to support the channel:Patreon: http://www.patreon....
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Jan 6, 2015 · 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.
by Matthew R. Shaftel. The five Dehmel Lieder (1906–1908) act as a bridge in Anton Webern’s musical development. These, along with the earliest of the fourteen George Lieder, represent a foray into the new musical style, while still maintaining substantive ties with the Romantic Lied of Webern’s predecessors.
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List of compositions by Anton Webern. Anton Webern in Stettin, October 1912. The Austrian composer Anton Webern (1883–1945) left a relatively small output of compositions. Many of his works are without opus numbers, and many were published posthumously.
