Arnold Elston Videos
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2024-05-04
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Anton Friedrich Wilhelm Webern Arnold Schoenberg Alban Berg Krenek Adorno Luigi Dallapiccola Arnold Elston Karl Amadeus Hartmann René Leibowitz Humphrey Searle Stefan Wolpe Olivier Messiaen Pierre Boulez Karlheinz Stockhausen Luigi Nono Bruno Maderna Henri Pousseur György Ligeti Elliott Carter Milton Babbitt Igor Stravinsky Robert Craft 1883 1945
The Kinderstück by Anton Webern [formerly Anton von Webern]. My recording can be downloaded here: (http•••) Twelve-tone music (sometimes also called serial music or just serialism) is really fascinating to me. Apart from its tonality or rather atonality, the compositions of Anton Webern are also having a very minimal touch. To underline the deep and minimal feel I've used a tape delay on this piano recording ... / Wikipedia says about Webern this: Anton Friedrich Wilhelm (von) Webern; 3 December 1883 – 15 September 1945) was an Austrian composer and conductor. 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 Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, K?enek, and even Schoenberg himself. As a tutor, Webern guided and variously influenced Arnold Elston, Frederick Dorian (Friederich Deutsch), Matty Niël, Fré Focke, Karl Amadeus Hartmann, Philipp Herschkowitz, René Leibowitz, Humphrey Searle, Leopold Spinner, and Stefan Wolpe. Webern's music was among the most radical of its milieu, both in its concision and in its rigorous and resolute apprehension of twelve-tone technique. His innovations in schematic organization of pitch, rhythm, register, timbre, dynamics, articulation, and melodic contour; his eagerness to redefine imitative contrapuntal techniques such as canon and fugue; and his inclination toward athematicism, abstraction, and lyricism all greatly informed and oriented intra- and post-war European, typically serial or avant-garde composers such as Olivier Messiaen, Pierre Boulez, Karlheinz Stockhausen, Luigi Nono, Bruno Maderna, Henri Pousseur, and György Ligeti. In the United States, meanwhile, his music attracted the interest of Elliott Carter, whose critical ambivalence was marked by a certain enthusiasm nonetheless; Milton Babbitt, who ultimately derived more inspiration from Schoenberg's twelve-tone practice than that of Webern; and Igor Stravinsky, to whom it was very fruitfully reintroduced by Robert Craft. 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. 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 Schreffler, 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. [more: (http•••) / Artwork "Clover Hearts" ((http•••) by Erik von Ploennies under CC BY NC ND 2.0 ((http•••) (12 tone piano music)
Anton Webern Arnold Schoenberg Alban Berg Krenek Adorno Luigi Dallapiccola Arnold Elston Karl Amadeus Hartmann René Leibowitz Humphrey Searle Stefan Wolpe Giuseppe Sinopoli Hermann Scherchen 1883 1907 1940 1941 1943 1945
Anton Webern (3 December 1883 – 15 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern comprised the core among those within and more peripheral to the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Křenek, and even Schoenberg himself. As tutor Webern guided and variously influenced Arnold Elston, Frederick Dorian (Friederich Deutsch), Fré Focke, Karl Amadeus Hartmann, Philipp Herschkowitz, René Leibowitz, Humphrey Searle, Leopold Spinner, and Stefan Wolpe. Please support my channel: (http•••) Variations for orchestra Op. 30 (1940) Staatskapelle Dresden conducted by Giuseppe Sinopoli Description by John Keillor [-] Anton Webern's Variations for Orchestra, Op. 30, was written in 1940-41. Consisting of a theme and six variations, this single movement work is just over seven minutes long, making it the composer's second longest single movement work. His Passacaglia, Op. 1, from 1907 is almost three minutes longer and is also a set of variations. In the thirty-three years that separate these pieces, the quality of Webern's composing remained at a consistently high level, while embracing quite divergent idioms. For instance, Op. 1 embodies post-Brahmsian tonality while Op. 30 is constructed from his unique twelve-tone technique, an operation that had a decisive influence on several generations of composers. Written between January 1940 and February 1941, the Op. 30 is one of Webern's most elegant works, and has a discernable dramatic flair found in the recurrences of melodic shapes. Certain musical figures recur as if in dialogue with one another. There are also dramatic soundscapes that suggest an operatic setting. This work stands between his two cantatas, which are as close as Webern ever came to writing an opera, an endeavor that fell short twice earlier in his career. The bulk of Webern's output are songs and while his melodic abilities have never been questioned, his strengths as a dramatic composer reveal themselves in episodes of the cantatas--especially in the final vocal movement of the first cantata, Op. 29--and these Variations. Listeners find themselves in a state of anticipation, waiting for an absent curtain to rise, but the process of absorbing this would-be overture reveals much more substance than could be found in most operatic scores, or even in the composer's own Symphony, Op 21. Webern's Op. 30 tone row is more sophisticated than that of his Op. 21, and his manipulations of the row are subtler. In Op. 30 this is evident in the chords which convincingly accompany the melodic lines. The Op. 21 relied more on canons to maintain a cohesive direction while the Op. 30 contains independent contrapuntal lines. The ability to write twelve-tone counterpoint without repetition is indicative of Webern's command of this musical language, a command that has rarely, if ever been matched. The chords heard in these variations are another indication of hitherto unknown levels of tone row mastery. Webern's Variations and sections of his Concerto, Op. 24 contain chords that clarify and heighten the direction of the melody in a way that is often associated with tonal writing. Webern's genius for creating great tone-rows is found in their deep and multiple levels of symmetricality, yielding many points of self-reference that strengthen the integrity of the melodic direction, formal contour, and harmonic rhythm and color. The Variations were first performed in Winterthur, Switzerland on March 3, 1943, with Hermann Scherchen conducting. Webern was allowed out of Austria to attend the performance. It was against the law to perform his music in his own country, by order of the Nazis. It was his last trip out of Austria, and the last premiere of his work that he would hear.
Anton Webern Arnold Schoenberg Alban Berg Krenek Adorno Luigi Dallapiccola Arnold Elston Karl Amadeus Hartmann René Leibowitz Humphrey Searle Stefan Wolpe Rasch 1883 1931 1934 1945
Anton Webern (3 December 1883 – 15 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern comprised the core among those within and more peripheral to the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Křenek, and even Schoenberg himself. As tutor Webern guided and variously influenced Arnold Elston, Frederick Dorian (Friederich Deutsch), Fré Focke, Karl Amadeus Hartmann, Philipp Herschkowitz, René Leibowitz, Humphrey Searle, Leopold Spinner, and Stefan Wolpe. Please support my channel: (http•••) Concerto for 9 instruments, Op. 24 (1934) 1. Etwas lebhaft 2. Sehr langsam 3. Sehr rasch Description by James Leonard [-] In the early 1930s, while the world economy was disintegrating and German politics were descending into barbarism, Anton Webern retreated into his world of strictly organized sounds. Webern first sketched the work that would become his Konzert, Op. 24, on January, 16, 1931; it began life as a single-movement orchestral piece inspired by his visit to his parents' graves, and based on a twelve-tone row so tightly organized that the standard 48 permutations were reduced to only 12. As the work grew into three movements, Webern continued distilling its essence and concentrating its form. In the final version, Webern reduced the number of instruments to nine / flute, oboe, and clarinet; horn, trumpet, and trombone; violin, viola, and piano. The Konzert was completed on September 13, 1934, and dedicated to Webern's teacher and friend Arnold Schoenberg. The opening movement (in duple time, marked Etwas lebhaft), is in three parts with an introduction and postlude; each section is clearly articulated by tempo markings. Each section is more intensely worked out then the one before it, culminating in a fortissimo stringendo climax at the end of the third section. The central movement is a brief, gentle waltz for muted instruments in two sections; the closing movement is a quick dance for winds, strings, and muted brass above the piano, rushing headlong toward a climactic chord in the winds, brass, and piano in the final bars.
Anton Webern Arnold Schoenberg Alban Berg Krenek Adorno Luigi Dallapiccola Arnold Elston René Leibowitz Humphrey Searle Stefan Wolpe Pierre Boulez Karlheinz Stockhausen Luigi Nono Bruno Maderna Henri Pousseur György Ligeti Igor Stravinsky Robert Craft Milton Babbitt 1883 1945
Anton Webern (G 3 December 1883 – 15 September 1945) was an Austrian composer and conductor. Along with his mentor Arnold Schoenberg and his colleague Alban Berg, Webern comprised the core among those within and more peripheral to the circle of the Second Viennese School, including Ernst Krenek and Theodor W. Adorno. As an exponent of atonality and twelve-tone technique, Webern exerted influence on contemporaries Luigi Dallapiccola, Křenek, and even Schoenberg himself. As tutor Webern guided and variously influenced Arnold Elston, Frederick Dorian (Friederich Deutsch), Fré Focke, Philipp Herschkowitz, René Leibowitz, Humphrey Searle, Leopold Spinner, and Stefan Wolpe. Webern's music was the most radical of its milieu in its rigorous and resolute apprehension of twelve-tone technique. His innovations in schematic organization of pitch, rhythm, register, timbre, dynamics, articulation, and melodic contour; his eagerness to redefine imitative contrapuntal techniques such as canon and fugue; and his inclination toward athematicism, abstraction, concision, and lyricism all greatly informed and oriented post-war European, typically serial or avant-garde composers such as Pierre Boulez, Karlheinz Stockhausen, Luigi Nono, Bruno Maderna, Henri Pousseur, and György Ligeti. In the United States, meanwhile, Webern's music was very fruitfully reintroduced to Igor Stravinsky by Robert Craft; and it attracted the interest of Milton Babbitt, although Babbitt ultimately found Schoenberg's twelve-tone techniques more useful than those of Webern. 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. 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, and Anne Schreffler, as archivists and biographers (e.g., Hans and Rosaleen Moldenhauer) regained access to sketches, letters, lectures, audio recordings, and other articles of and associated with Webern's estate.
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