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Based on the discovery of previously unknown Webern manuscripts, notebooks, and diaries, this biography of the twentieth-century composer examines all the crucial elements of his life and work, including his years as a pupil of Schoenberg

Stravinsky, Ligeti, Berg, Webern Stravinsky / Ligeti / Berg / Webern - DVD 822231302896

Vienna Acoustics Webern single speaker1 Speakers with grills 23x13x8"Webern speakers in Brushed AluminumTested and works as it should Its all met...

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Based on the discovery of previously unknown Webern manuscripts, notebooks, and diaries, this biography of the twentieth-century composer examines all the crucial elements of his life and work, including his years as a pupil of Schoenberg

This important new study reassesses the position of Anton Webern in twentieth-century music. The twelve-note method of composition adopted by Anton Webern had profound consequences for composers of the next generation such as Stockhausen and Boulez, who saw Webern's music as revolutionary. In her detailed analyses, however, Professor Bailey demonstrates a fundamentally traditional aspect to Webern's creativity, when describing his own music. Professor Bailey analyses all Webern's twelve-note works (from Op. 17 to Op. 31) i.e. the instrumental and vocal music written between 1924 and 1943. These analyses draw on sketch material recently made available at the Paul Sacher Foundation in Basel and include transcriptions of little-known drafts and sketches. A most valuable aspect of the book is the inclusion in appendices of such materials as a complete explanation of the row content of each work, the correct prime form of each of the rows from Op. 20 onwards, with a matrix constructed for each, and exhaustive row analyses.

Based on the discovery of previously unknown Webern manuscripts, notebooks, and diaries, this biography of the twentieth-century composer examines all the crucial elements of his life and work, including his years as a pupil of Schoenberg

A concise biographical study of the life and work of Anton von Webern. The book explores the idea that modern music is obscure by setting Webern's technical advances against the Romantic inheritance of 19th century Austro-Germany.

1983 W.W. Norton trade paperback, Oliver Neighbour, Paul Griffiths, George Perle. Arnold Schoenberg, Anton Webern, and Alban Berg comprise what is known as the 'Second Viennese School.' Their early 20th-century atonal and 12-tone composition marked the abolition of the traditional tonal functions and heralded an entirely new treatment of dissonance. These three biographies by Paul Griffiths (Webern), Oliver Neighbour (Schoenberg), and George Perle (Berg) provide insight into these developments and offer succinct and illuminating discussions of the composers' lives and works. - Amazon

This important new study reassesses the position of Anton Webern in twentieth-century music. The twelve-note method of composition adopted by Anton Webern had profound consequences for composers of the next generation such as Stockhausen and Boulez, who saw Webern's music as revolutionary. In her detailed analyses, however, Professor Bailey demonstrates a fundamentally traditional aspect to Webern's creativity, when describing his own music. Professor Bailey analyses all Webern's twelve-note works (from Op. 17 to Op. 31) i.e. the instrumental and vocal music written between 1924 and 1943. These analyses draw on sketch material recently made available at the Paul Sacher Foundation in Basel and include transcriptions of little-known drafts and sketches. A most valuable aspect of the book is the inclusion in appendices of such materials as a complete explanation of the row content of each work, the correct prime form of each of the rows from Op. 20 onwards, with a matrix constructed for each, and exhaustive row analyses.

Neuware - A look through the correspondence of two befriended pupils and their teacher: Schönberg, Berg, WebernThis book examines the relationship of three very different men who are usually seen as the most important composers of the so-called Second Viennese School - Arnold Schönberg, Alban Berg and Anton Webern - in the years 1906 to 1921 through a close examination of their correspondence with each other. To date only one of these correspondences, that of Schönberg and Berg, has been published, so the other two sets of letters are not yet widely known. The largely differing personalities of these three mencome out clearly in their letters to each other: Schönberg, the master who demands a great many things from his two pupils (long after they have ceased to be that); Berg, from whom he demands the most; and Webern, his pious devotee. The book covers the period linking the first correspondence between master and pupils in 1906 and the dissolution of the Verein für musikalische Privataufführungen in 1921, the period when these men were most closely bound together.

Novus quartet # 1 Ludwig Van Beethoven, Anton Webern, Isang Yun The Novus String Quartet was founded in 2007 at the National University of the Arts in Seoul. After critical success in Korea, they moved to Germany in 2011. This dbut album sits at the crossroads of their Korean and German influences. Demonstrating prodigious technique at the service of exceptional musicality, their versions of Werbern's Langsamer Satz and Beethoven's String Quartet No.11 stand up to any comparisons. Isang Yun's Q

György Kurtág (b. 1926) is widely regarded as one of the foremost composers in the second half of the twentieth century and the early twenty-first. Born in Romania, he received crucial training in Paris from Olivier Messiaen and Marianne Stein. He was also shaped by his broadening contact there with the music of Webern and such challenging literary works as the plays of Samuel Beckett. After many years in Hungary, teaching at the Budapest Academy of Music, Kurtág settled near Bordeaux with his wife Márta. The two regularly perform duo-recitals of his music. In 2006, his . . . concertante . . . (2003, for violin, viola and orchestra) won the coveted Grawemeyer Award for Music Composition. This unique set of interviews with Kurtág, alone or with his wife, gives a fascinating insight into the composer's personality, which is marked by shyness but also an unquenchable thirst for impressions of every kind [artistic, natural and human]. The two speak with disarming openness about their lives -- the background against which masterpieces like Messages of the Late Miss R. V. Troussova (1976-80, for soprano and chamber orchestra) or Stele (1994, for orchestra) were written. The analysis of certain of Kurtág's works, especially of . . . concertante . . ., shows the way that his mind works: no system, no dogma, no formulae -- rather, basic human emotions expressed through means that speak directly to the listener's innermost feelings. The Hungarian music publisher Bálint András Varga has spent nearly forty years working for and with composers. He has published several books, including extensive interviews with Lutoslawski, Berio, and Xenakis.

The Da Capo Catalog of Classical Music Compositions exhaustively lists the works of 132 major composers, from Vivaldi and Bach to Webern and Cage. A classical music lover's dream, it is the only source containing all the essential information about classical compositions within the convenient covers of one volume. Designed for listeners, readers, collectors, and connoisseurs alike, this catalog will be as indispensable an investment as a philatelic catalog is to the postage stamp collector. This catalog will tell you at a glance: which works would complete your collection of Dvorák's string quartets; which Gershwin songs appeared in which of his shows; in which Mozart opera the aria "Il mio tesoro" appears; at what age Brahms composed his first symphony; whether Beethoven's Piano Sonata No.14 is the "Moonlight" or the "Waldstein"; and how many symphonies Borodin composed. The Da Capo Catalog of Classical Music Compositions relies on the most authoritative sources. Easy to use and difficult to put down, it will delight anyone frustrated by the inadequacy and inconsistency of existing reference works. The first book of its kind, it will undoubtedly become a well-appreciated companion on your journeys through musical history.

Composer: Anton Webern Piano Quintet Monod Publisher: Mobart Music Publications/Schott Helicon Category: Band/Orchestra/Ensemble Series: Scho...

Early in his career, the composer Arnold Schoenberg maintained correspondence with many notable figures: Gustav Mahler, Heinrich Schenker, Guido Adler, Arnold Rosé, Richard Strauss, Alexander Zemlinsky, and Anton von Webern, to name a few. In this volume of Oxford's Schoenberg in Words series, Ethan Haimo and Sabine Feisst present English translations of the entirety of Arnold Schoenberg's early correspondence, from the earliest extant letters in 1891 to those written in the aftermath of the controversial premieres of his String Quartet No. 1, Op. 7, and the Kammersymphonie, Op. 9. The letters provide a wealth of information on many of the crucial stages in Schoenberg's early career, offering invaluable insights into his daily life and working habits. New details emerge about his activities at Wolzogen's Buntes Theater in Berlin, his frequently confrontational interactions with his first publisher (Dreililien Verlag), the reactions of friends and critics to the premieres of his works, his role in the founding of the Vereinigung schaffender Tonkünstler, his activities as a teacher, and his (all too often unsuccessful) attempts to convince musicians to perform his music. Presented alongside the editors' extensive running commentary, the more than 300 letters in this volume create a vivid picture of the young Schoenberg and his times.

Preface. PART 1: VIENNA: 1885-1915. 1. The German Romantic Legacy. 2. Schoenberg to 1909: Extending Traditions. 3. Webern: Opus 1 to Opus 12. 4. Alban Berg Before Wozzeck. PART TWO: PARIS: 1885-1915. 5. Debussy: Impressionism and Symbolism. 6. Maurice Ravel to the Mallarme Songs (1913). 7. Exoticism: Importations from Abroad. 8. Symbolist Reverberations Abroad (I): Decadent Symbolism. 9. Symbolist Reverberations Abroad (II): Synesthetic Symbolism. PART THREE: EMEBLEMS OF CRISIS: 1909-1914. 10. Expressionism: The Path to Pierrot. 11. Primitivism: The Road to the Rite. 12. Futurism: Manifestos and Machines. 13. The New Simplicities: France. 14. The New Simplicities: Germany. 15. Toward Neoclassicism. 16. Zemlinsky's Lyric Symphony: Against the Tide. 17. Berg: Wozzeck and the Violin Concerto. 18. Weberns Path to the New Music. PART FIVE: EMERGING NATIONAL ASPIRATIONS: 1910-1945. 19. Hungary: Bela Bartok. 20. Russians Abroad and At Home. 21. The Twentieth-Century Spanish and English Renaissance. 22. An "American" Music for America. PART SIX: BEYOND NATIONALISM: 1920-1950. 23. Rituals, Liturgies, and Voices of War. PART SEVEN: POSTWAR SERIALISM AND THE RISE OF AN INTERNATIONAL AVANT-GARDE. 24. Europe: In Search of a Common Practice. 25. The United States of America. 26. Serialism and the European Old Guard. 27. The International Avant-Garde: Choice and Chance. PART EIGHT: THE QUEST FOR NEW SOUNDS. 28. Electronics and Explorations of Duration, Timbre, and Space. 29. The New Virtuosity. PART NINE: PAST IMPERFECT-FUTURE SUBJUNCTIVE. 30. Users of the Past: A Synthesis. 31. Users of the Past: The Generic Revivals. 32. Envoi. Notes. Index.

György Kurtág (b. 1926) is widely regarded as one of the foremost composers in the second half of the twentieth century and the early twenty-first. Born in Romania, he received crucial training in Paris from Olivier Messiaen and Marianne Stein. He was also shaped by his broadening contact there with the music of Webern and such challenging literary works as the plays of Samuel Beckett. After many years in Hungary, teaching at the Budapest Academy of Music, Kurtág settled near Bordeaux with his wife Márta. The two regularly perform duo-recitals of his music. In 2006, his . . . concertante . . . (2003, for violin, viola and orchestra) won the coveted Grawemeyer Award for Music Composition. This unique set of interviews with Kurtág, alone or with his wife, gives a fascinating insight into the composer's personality, which is marked by shyness but also an unquenchable thirst for impressions of every kind [artistic, natural and human]. The two speak with disarming openness about their lives -- the background against which masterpieces like Messages of the Late Miss R. V. Troussova (1976-80, for soprano and chamber orchestra) or Stele (1994, for orchestra) were written. The analysis of certain of Kurtág's works, especially of . . . concertante . . ., shows the way that his mind works: no system, no dogma, no formulae -- rather, basic human emotions expressed through means that speak directly to the listener's innermost feelings. The Hungarian music publisher Bálint András Varga has spent nearly forty years working for and with composers. He has published several books, including extensive interviews with Lutoslawski, Berio, and Xenakis.

George Perle is a distinguished composer and Professor Emeritus of Music at the City University of New York. His books include Serial Composition and Atonality: An Introduction to the Music of Schoenberg, Berg, and Webern (Sixth Edition, California, 1991); The Operas of Alban Berg, Volume 1, Wozzeck (California, 1980) and Volume 2, Lulu (California, 1985); and The Listening Composer (California, 1990). He has been a recipient of the Pulitzer Prize and a MacArthur Foundation Fellowship.

The image of Vienna as a musical city is a familiar one. Vienna has long been associated with many of the most significant composers in Western music - from Haydn, Mozart, Beethoven and Schubert, through the Strauss family, Brahms, Bruckner and Wolf, to Mahler, Lehár, Schoenberg and Webern. Today, venerable institutions like the Vienna Philharmonic Orchestra, the Staatsoper and the Vienna Boys' Choir, together with the shared pride of residents and visitors in its musical inheritance, ensure that the image of a musical city is undimmed. This book explores the history of music in Vienna, focussing on three different epochs, 1700, 1800 and 1900, an approach which allows the very different relationships between music and society that existed in each of these periods to be distinguished. Patronage, social function and audience are key considerations, set within wider political and cultural developments. The volume is populated by emperors, princes, performers, publishers and writers as well as composers, and deals with institutional and commercial characteristics alongside representative individual works. Music in Vienna focusses on the political and social role of music, broadening our understanding of the city as a musical capital. It will appeal to a wide readership, including music historians and political, cultural and social historians, as well as the interested general reader.