Webern's Vibe

[greg]

What's your catalogue of Webern you like, Greg?

Op.1 is still my favorite of his- one of my all-time favorite pieces of music.
After that, I like the Symphony, the Cantatas, Concerto, Variations for Orchestra, 5 Pieces for Strings, 6 Pieces for Orchestra, op.2 Flight to Light Boats, etc. I really have a hard time getting into his songs.

[Josquin des Prez]

I don't think this is a parody of modern music at all. I think the humour in this comes from a portrayal of a recital by several people who don't actually know how to play instruments or sing.

Which is hilarious in itself.

[karlhenning]

Op.1 is still my favorite of his- one of my all-time favorite pieces of music.
After that, I like the Symphony, the Cantatas, Concerto, Variations for Orchestra, 5 Pieces for Strings, 6 Pieces for Orchestra, op.2 Flight to Light Boats, etc. I really have a hard time getting into his songs.

Could just be language barrier, which is a hurdle for many.

[greg]

Probably it's just from deciding to listen a whole CD of Webern songs in one sitting, which is too hard to digest. In isolation, I bet it'd be much easier to enjoy.

[Josquin des Prez]

The problem with Webern is that his harmony goes in circles, like a spiral, every voice playing counterpoint with the others at all times. However, when it comes to his lieder we have an hard time with this because we are used to follow the singing as if it was it's own entity. The trick i suppose is to forget that and continue to focus on the continuous rotation of the spiral.

[karlhenning]

The problem with characteristic of Webern is that his harmony goes in circles, like a spiral, every voice playing counterpoint with the others at all times.

Corrected.

[Mirror Image]

I like a few of Webern's works, but he's not one of my favorites. Even though I know "Im Sommerwind" is clearly a nod to Richard Strauss, I can't help but to moved by this piece and it's beautiful rise and flow of Romantic lyricism.

[karlhenning]

I've been really enjoying the nods in the Cantatas (for instance) to the Flemish contrapuntal masters.

[Cato]

Upon Karl Henning's recommendation I have been reading The Gesualdo Hex which concerns assorted themes, among the connections among Gesualdo, Schoenberg, and Stravinsky, especially later in life.

While reading a thought came to me, namely, that the embryonic soul of Webern is found in the opening bars (and elsewhere in the work) of Mahler's Ninth Symphony.

The thought is not original with me by any means, but I believe it needs to be remembered.

Would Mahler have accepted Webern'smore idiosyncratic development?  I believe so, given the former's defense of Schoenberg despite misgivings.

[snyprrr]

BUMP

[karlhenning]

Just listened this morning to Webern's piano quintet arrangement of Schoenberg's Erste Kammerkonzert, great fun!

[snyprrr]

Would anyone like to discuss the Passacaglia Op.1? I just listened to it, seriously, the other day, and noticed some very Modern elements that I hadn't before. Webern is so,...so,...incisive!

[Brahmsian]

Well, last night and this morning, after listening to Disc 1 of the 6 Disc Webern complete Edition (Boulez), I am in total awe and swept away!     I expected something really, really unique (which I got), but I did not expect such beauty in the music as well, such incredible beauty.

On this Disc 1 were the following pieces (which I had only ever heard the Passacaglia beforehand, so everything else was brand new to my ears, even the arrangements - which were also incredibly gorgeous):

Passacaglia for Orchestra, Op.1
5 Movements for String Orchestra, Op.5
6 Pieces for Orchestra, Op.6
Orchestral arrangement of Bach's Fuga (Ricercata) a 6 voci from 'The Musical Offering'
Orchestral arrangement of Schubert's German Dances, D820
Im Sommerwind, Idyll for Large Orchestra

Blown away.  I was blown away (perhaps it was the sommerwind).   

[Brahmsian]

Did I mention I was blown away?  Just making sure!   

[karlhenning]

Well done, Ray!

[Opus106]

Well done, Ray!

Ray or Webern? 0:)

[karlhenning]

Tangent: Interesting, the German Überlebender is literally equivalent to the source Latin for survivor.

[Brahmsian]

Tangent: Interesting, the German Überlebender is literally equivalent to the source Latin for survivor.

[karlhenning]

Just noticed it on the Abbado disc that James was listening to, from the Schoenberg.

[snyprrr]

Was it Midori (or the other one) who just played in DC and leavened her Beethoven program with Crumb(!) and Webern? My curiosity was piqued, and I pulled out the 'Kremerata Musica' cd of works by the Big 3.

All of Webern's music for violin/piano and cello/piano seem to last less than 10mins., but my!, what compactness. The 2 Pieces (1899) for cello/piano still have a Brahmsian autumnal quality, but the 4 Pieces (1910) for violin.piano are a real find. These are dark and enigmatic pieces pulled from the unconscious. There is one section of a strangely rocking minor third repeated almost in minimalist fashion. I could barely hear the inward Langsam.

Frankly, the 3 Small Pieces (1914) for cello/piano, and the Cello Sonata (1914; 1:45) both go by so quickly that I can barely remember what just happened. The Cello Sonata is one arch, very dark.

I do believe this represents Webern's music for 'Piano Trio', and, I don't recall him writing anything else like this. The sax Concerto is the next step up, no? (of course, not considering his other 'string' music)

I would have liked to hear Midori (or the other lady) play these epigrams. The review was much more favorable to her Webern than her LvB (played 'too easy' or something).


Does anyone have a better grasp on these pieces who would like to comment?