Started by karlhenning, April 02, 2008, 12:44:20 PM
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QuoteThus towards the end of his life Webern's mystical tendencies led to a kind of 'Meta-music' which did not need to be written down on paper and realized in sound. [Cesar?] Bresgen says of this: 'It is highly improbable that Webern worked at any piece of music on paper in those last months of his life in Mittersill: in any case there is no one to whom he spoke about it. On the other hand one could often see Webern in most stimulating work, which consisted of drawing with pencil and compasses on a poor quality table or on a wooden board. I well remember his system of lines, in which could be seen geometrical figures or fixed points with markings. Once—it was the middle of August 1945—Webern said on one of my visits thaht he had just finished some work which had occupied him a great deal. He had completely organized a piece, i.e. he had fixed all the notes in it in respect of their pitch (sound) and also their duration in time. I cannot remember the series, but I remember Webern's remark about "time fulfilled". With this graphic plan on the table Webern regarded the real work as completed. More than once he made the assertion that he would never wish to hear his piece (played by musicians). He said that the work "sounds by itself"—he himself could "hear it right through"—it was enough for him that the piece was now finished in itself: "the sound is always there"—"a performance would not bring it out as perfectly as it had already become sound in himself". Apart from this Webern was convinced that what he had done was no private or arbitrary step; he said "one will hear this music as if it had always been, it will be like a morning breeze, a liberation . . . in fifty years one will find it obvious, children will understand and sing it".'
Quotein fifty years one will find it obvious, children will understand and sing it"
Quote from: val on April 05, 2008, 12:38:42 AMThe only part of Webern's music that I don't like are the Lieder. In general, Webern doesn't seem very concerned by the poem, using the words just like as a vocal sound, with almost no relation with their meaning.
Quote from: Guido on September 21, 2008, 06:25:53 AMI have just bought the complete Webern set by Boulez - the six CD one. Where do I start?
Quote from: James on September 21, 2008, 08:30:54 AMyeah...it includes a lot of juvenilia and the DG set is poorly recorded, i was shocked because usually with Boulez things are up close & clear but not with that set, the music sounds like the orchestra is playing it at the bottom of the Grand Canyon with the listener at the top. the Sony set is superior because it's less ambient and more up close and clear, like being sat amoungst the musicians.
Quote from: Guido on September 21, 2008, 09:45:58 AMCheers Donwyn. I remember studying this during my A levels - an extraordinary work to be sure. The only other works I know are the three sets of cello pieces.I guess I should have asked really - what in people's opinion are the really important and great works? Or are they all of similar high quality?
Quote from: James on September 21, 2008, 09:35:55 AMthe Sony set does not "lack depth", it gets it just 'right'.....the over abundance of ambience in the DG set is inappropriate to Webern's very particular soundworld, but if you like your Webern all blurred, smudged & smeered than the DG set is definitely for you!
Quote from: James on September 21, 2008, 11:08:56 AMYea I agree ... don't take my word, it's just one of the worst recordings of the works I have ever heard, and I heard a lot believe me ...
Quote from: Guido on September 21, 2008, 09:45:58 AMI guess I should have asked really - what in people's opinion are the really important and great works? Or are they all of similar high quality?
Quote from: donwyn on September 21, 2008, 10:14:54 AM. . . For myself, I'm sort of a Webern 'all-rounder' as I pretty much enjoy everything he wrote.
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