Anton Webern
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Anton Webern (3 December 1883 – 15 September 1945) was an Austrian composer and conductor. He was a member of the Second Viennese School. 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.
Webern was not a prolific composer; just thirty-one of his compositions were published in his lifetime, and when Pierre Boulez oversaw a project to record all of his compositions, including those without opus numbers, the results fit on just six CDs. However, his influence on later composers, and particularly on the post-war avant garde, was immense. 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.
Like almost every composer who had a career of any length, Webern’s music changed over time. However, 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.
Webern was not a prolific composer; just thirty-one of his compositions were published in his lifetime, and when Pierre Boulez oversaw a project to record all of his compositions, including those without opus numbers, the results fit on just six CDs. However, his influence on later composers, and particularly on the post-war avant garde, was immense. 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.
Like almost every composer who had a career of any length, Webern’s music changed over time. However, 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.
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Shoutbox
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Killer_Artist wrote:
not even in the mountains?
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MCXXI wrote:
There's no silence at all.
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Killer_Artist wrote:
even silence?
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poeq wrote:
everything is noise
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Killer_Artist wrote:
just sounds like noise
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blackless wrote:
Ave, Regina coelorum
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FallingUpwards7 wrote:
Очаровательно.
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Seavas wrote:
A version of the current (deeply touching, utterly appropriate) artist picture without the nasty gif color depth: http://www.last.fm/music/Anton+Webern/+images/71455376
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poeq wrote:
wrong.
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tim4tw wrote:
"nigga saw the nigga nigga of today's nigga and rose right the fuck out of the nigga to go on nigga" amirite?
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johnstrieder wrote:
I envy your parents
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Areskelian wrote:
cerealism
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kobushi_ wrote:
Great parents :)
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ut0 wrote:
thank you mommy and daddy for getting me the complete webern for my birthday :)
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DionysosApollon wrote:
excellent composer! http://www.lastfm.de/group/Second+Viennese+School
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tokyochorus wrote:
nigga saw the bullshit state of today's music and rose right the fuck out of the grave to go on tour [5]
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johnstrieder wrote:
Serialism in your face! Webern rules.
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blackless wrote:
Serial composer looks like serial killer. Just a coincidence.
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poeq wrote:
you just killed the funny.
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megajosh2 wrote:
Does that mean he's Jesus?
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