Anton Webern
http://dbpedia.org/resource/Anton_Webern an entity of type: Thing
Anton Webern (Viena, 3 de desembre de 1883 - , Salzburg, 15 de setembre de 1945) fou un compositor austríac. Va ser membre de l'anomenada Segona Escola de Viena. Com a estudiant i brillant seguidor d'Arnold Schönberg, és un dels més coneguts exponents del dodecafonisme; a més, les seues innovacions referents a l'organització sistemàtica d'altura, ritme i dinàmica van ser decisives per a l'estil musical conegut més tard com serialisme.
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Anton Webern (3. prosince 1883, Vídeň, Rakousko - 15. září 1945 Mittersill poblíž Salcburku, Rakousko) byl rakouský skladatel a dirigent období expresionismu, stoupenec a žák Arnolda Schönberga a obdivovatel Mahlerovy hudby.
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Ο Άντον Βέμπερν (Anton Friedrich Wilhelm von Webern, Βιέννη, 3 Δεκεμβρίου 1883 – 15 Σεπτεμβρίου 1945) ήταν Αυστριακός συνθέτης.
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Anton Webern (naskiĝis la 3-an de decembro 1883 en Vieno; mortis la 15-an de septembro 1945 en Mittersill) estis aŭstria komponisto de klasika muziko kaj membro de la tiel nomata Dua Viena Skolo. Li naskiĝis Anton Friedrich Wilhelm von Webern, sed neniam uzis siajn mezajn nomojn, kaj ne plu uzis la nobelulan titolon von ekde 1918.
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Anton Webern (* 3. Dezember 1883 in Wien; † 15. September 1945 in Mittersill, Salzburg, Österreich; vollständiger Name: Anton Friedrich Wilhelm von Webern; das „von“ musste er 1919 aufgrund des Adelsaufhebungsgesetzes ablegen) war ein österreichischer Komponist und Dirigent. Als einer der ersten Schüler von Arnold Schönberg gehörte er zum inneren Kreis der Wiener Schule.
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Anton (von) Webern (Viena, 3 de diciembre de 1883-Mittersill, Salzburgo; 15 de septiembre de 1945) fue un compositor austríaco. Fue miembro de la llamada Segunda Escuela de Viena. Como estudiante y brillante seguidor de Arnold Schoenberg, es uno de los más conocidos exponentes del dodecafonismo; además, sus innovaciones referentes a la organización sistemática de altura, ritmo y dinámica fueron decisivas para el estilo musical conocido más tarde como serialismo.
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Anton Webern ( audio), né le 3 décembre 1883 à Vienne et mort le 15 septembre 1945 à Mittersill, est un compositeur et chef d'orchestre autrichien. Un des premiers élèves d’Arnold Schönberg, il appartient au premier cercle de la Seconde école de Vienne. Son nom à la naissance est Anton Friedrich Wilhelm von Webern, mais il abandonne la particule von en application de la loi autrichienne de 1919.
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Anton von Webern adalah seorang komposer terkenal dari Austria yang bernama lengkap Anton Friedrich Wilhelm von Webern. Dia lahir di Vienna, Austria tanggal 3 Desember 1883 dan meninggal saat 15 September 1945 di dekat Salzburg. Dia terkenal dengan the 12-tone Viennese school (12 nada ). Lebih khususnya, Webern terkenal dengan Passacaglianya yang digunakan untuk orkestra dan berbagai macam musik lainnya.
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안톤 폰 베베른(Anton von Webern, 1883년 ~ 1945년)은 오스트리아의 작곡가이다.
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アントン・フリードリヒ・ヴィルヘルム・フォン・ヴェーベルン（Anton Friedrich Wilhelm von Webern, 1883年12月3日 - 1945年9月15日）は、オーストリアの作曲家、指揮者、音楽学者。ウェーベルンとも書かれる。 シェーンベルクやベルクと並んで新ウィーン楽派の中核メンバーであり、なおかつ20世紀前半の作曲家として最も前衛的な作風を展開した。このため、生前は顧られる機会がほとんどなかったが、戦後の前衛音楽勃興の中で再評価され、世界的に多くの作曲家に影響を与えた。
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Anton Friedrich Wilhelm (von) Webern (ur. 3 grudnia 1883 w Wiedniu, zm. 15 września 1945 w Mittersill) – austriacki kompozytor współczesny. Jedna z czołowych postaci drugiej szkoły wiedeńskiej.
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Anton Webern (Viena, 3 de dezembro de 1883 — Mittersill, Salzburgo, 15 de setembro de 1945) foi um compositor austríaco, pertencente à chamada Segunda Escola de Viena, liderada por Arnold Schönberg, cujo estilo e poética musical foi denominado de música dodecafônica, música expressionista ou música pontilhista. É conhecido e admirado entre os músicos pós-modernos pelas inovações rítmicas, timbrísticas e dinâmicas que formaram o estilo musical conhecido como serialismo.
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Anton Friedrich Wilhelm (von) Webern (Wenen, 3 december 1883 – Mittersill, 15 september 1945) was een Oostenrijks componist en als leerling van Arnold Schönberg lid van de Tweede Weense School. Als zeer vooruitstrevend componist is zijn invloed op met name de naoorlogse avant-garde nauwelijks te overschatten.
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Anton Webern (fullständigt namn Anton Friedrich Wilhelm von Webern), född 3 december 1883 i Wien, död 15 september 1945 i Mittersill i Salzburg, var en österrikisk kompositör och dirigent.
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Антон Ве́берн, также Антон фон Ве́берн (нем. Anton Webern, нем. Anton von Webern; 3 декабря 1883, Вена — 15 сентября 1945, Миттерзилль, Австрия) — австрийский композитор и дирижёр, один из основателей Новой венской школы.
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安东·弗雷德里克·威廉·冯·韦伯恩（德語：Anton Friedrich Wilhelm von Webern，德语发音：[ˈantoːn ˈveːbɐn] （）；1883年12月3日－1945年9月15日），又译魏本，奥地利作曲家，第二维也纳乐派代表人物之一。
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Антон Веберн, також Антон фон Веберн (нім. Anton Webern або Anton von Webern, 3 грудня, 1883, Відень — 15 вересня 1945 Міттерзілль, поблизу Зальцбурга Австрія) — австрійський композитор, диригент представник «Нової віденської школи».
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أنتون فريدريش فيلهلم فون فيبرن 3 كانون الأول ديسمبر 1883 – 15 سبتمبر تشرين الثاني 1945كان ملحنًا نمساويًا. (في البداية أطلق على نفسه اسم Anton von Webern ، لكنه اضطر إلى التخلي عن "von" بعد قانون مناهضة النبلاء لعام 1919.) جنبًا إلى جنب مع معلمه أرنولد شوينبيرج وزميله ألبان بيرج، كان فيبرن في قلب من هم في دائرة مدرسة فيينا الثانية، بما في ذلك تيودور دبليو أدورنو، وهاينريش جالويتز، وإرنست كرينك. بوصفه داعية لل الوهن وتقنية اثني عشر نغمة، بذلت يبيرن تأثير على معاصريه لويجي دالابيكولا، كرينيك، وحتى شوينبيرج نفسه. كمدرس، قام ويبرن بتوجيه وتأثير أرنولد إلستون، فريدريك دوريان (فريدريك دويتش)، ، ، وكارل أماديوس هارتمان، وفيليب هيرشكوفيتز، ورينيه ليبوفيتز، وهمفري سيرل، وليوبولد سبينر، وستيفان وولب.
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Anton Friedrich Wilhelm von Webern (3 December 1883 – 15 September 1945), better known as Anton Webern (German: [ˈantoːn ˈveːbɐn]), was an Austrian composer and conductor whose music was among the most radical of its milieu in its sheer concision, even aphorism, and steadfast embrace of then novel atonal and twelve-tone techniques. With his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was at the core of those within the broader circle of the Second Viennese School.
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Anton Webern (Viena, 1883ko abenduaren 3a - Mittersill, Salzburgo, 1945eko irailaren 15a) austriar musikagilea izan zen. 1902. urtean Vienako unibertsitatean sartu zen eta Guido Adlerrekin musikologia-ikasketak egin zituen. Choralis Constantinus eta Errenazimentuko flandestar musikagileen kontrapuntuari buruzko doktore-tesia idatzi zuen. 1904-1908. urteetan Arnold Schönbergen ikasle izan zen, eta geroago lankide, Vienako Musika Funtzio Pribatuen Elkartean. 1908tik aurrera Viena, Danzig, Praga eta beste hiri batzuetako antzokietako zuzendari izan zen. 1922-1934. urteetan Vienako Langileen Orkestra Sinfonikoaren kontzertuetako zuzendari izan zen. Zenbait alditan BBCko orkestrako zuzendari gonbidatua ere izan zen.
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Anton Friedrich Wilhelm von Webern, meglio noto come Anton Webern (Vienna, 3 dicembre 1883 – Mittersill, 15 settembre 1945), è stato un compositore austriaco. Fu uno dei primi allievi e seguaci di Arnold Schönberg e appartenne alla cosiddetta seconda scuola di Vienna. Nel 1925 Webern adottò definitivamente la dodecafonia appena essa fu teorizzata dal suo maestro Arnold Schönberg: tecnica compositiva della quale - anche per gli sviluppi tecnici che ebbero le sue idee da parte della successiva generazione di compositori - si sarebbe rivelato esponente originalissimo. La sua embrionale organizzazione dei sistemi di altezze, ritmo e dinamica divenne infatti il modello originario di una delle principali tecniche compositive della seconda metà del XX secolo, del quale si parla in generale come d
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Anton Webern
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أنتون فيبرن
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Anton Webern
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Anton Webern
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Anton Webern
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Άντον Βέμπερν
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Anton Webern
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Anton Webern
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Anton Webern
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Anton von Webern
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Anton Webern
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Anton Webern
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アントン・ヴェーベルン
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안톤 베베른
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Anton Webern
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Anton Webern
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Anton Webern
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Веберн, Антон
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Anton Webern
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Антон Веберн
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安东·韦伯恩
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Anton Webern
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Anton Webern
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Mittersill, Austria
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Vienna, Austria
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65676
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1124534943
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Haimo, Ethan. 2010. "The Rise and Fall of Radical Athematicism". In The Cambridge Companion to Schoenberg, edited by Joseph Auner and Jennifer Shaw, 94–107. Cambridge and New York: Cambridge University Press. .
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Pousseur, Henri. 2009. "Harmonie? Harmonies! ". In Série et harmonie généralisées: une théorie de la composition musicale. Selected and edited by Pascal Decroupet, 225–242. Collection Musique-Musicologie. Wavre: Mardaga. .
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Perle, George. 1990. The Right Notes: Twenty-Three Selected Essays by George Perle on Twentieth-Century Music. Stuyvesant: Pendragon Press. .
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Johnson, Julian. 1999. Webern and the Transformation of Nature. Cambridge: Cambridge University Press. .
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Rosen, Charles. 2012. Freedom and the Arts: Essays on Music and Literature. Cambridge, MA and London: Harvard University Press.
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Arnold Schönberg Center. n.d. "Concerto for Violin and Orchestra Op. 36". Werk- und Quellendatenbank: Werke mit Opuszahlen . Vienna: Arnold Schönberg Center .
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Schoenberg, Arnold. 1950. Style and Idea, ed. Dika Newlin. New York: Philosophical Library, Inc.
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Leinsdorf, Erich. 1997. Erich Leinsdorf on Music. Portland: Amadeus Press. .
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Perle, George. 1980. The Operas of Alban Berg, Vol. I: Wozzeck. Berkeley: University of California Press. .
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Stravinsky, Igor. 1959. "[Foreword]". Die Reihe 2 : vii.
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Merrick, Paul. 1987. Revolution and Religion in the Music of Liszt. Cambridge and New York: Cambridge University Press. .
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Emmery, Laura. 2020. Compositional Process in Elliott Carter's String Quartets: A Study in Sketches. Ashgate Studies in Theory and Analysis of Music After 1900. London and New York: Routledge. . .
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Simms, Bryan R. and Charlotte Erwin. 2021. Berg. Oxford: Oxford University Press. .
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Goeyvaerts, Karel. 1994. "Paris: Darmstadt 1947–1956: Excerpt from the Autobiographical Portrait", translated by Patrick Daly, Peter Vosch, and Roger Janssens. Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 48 : 35–54.
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Erwin, Max. 2020. "Who is Buried in Webern's Tomb? Orientations in the Reception of Serial Music from Messiaen to Stockhausen." Perspectives of New Music 58, 93–128.
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Eichner, Barbara. 2012. History in Mighty Sounds: Musical Constructions of German National Identity, 1848–1914. Music in Society and Culture 1. Boydell Press. .
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Notley, Margaret. 2010. "[1934, Alban Berg, and the Shadow of Politics: Documents of a Troubled Year]". In Alban Berg and His World, edited by Christopher Hailey, 223–268. The Bard Music Festival. Princeton: Princeton University Press. .
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Bick, Andreas, 2009. "Richard Taruskin: The Danger of Music". Silent Listening blog .
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Shere, David Matthew. 2007. "A Survey of Webern's Life and Compositional Vocabulary". PhD diss. Santa Barbara: University of California, Santa Barbara. .
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Ross, Alex. 2007. The Rest Is Noise: Listening to the Twentieth Century. New York: Farrar, Straus, and Giroux, .
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Service, Tom. 2013. "Symphony Guide: Webern's Op 21". Tom Service on Classical Blog. The Guardian.com .
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Prausnitz, Frederik. 2002. Roger Sessions: How a "Difficult" Composer Got That Way. Cary, NC: Oxford University Press. .
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Frandzel, Benjamin. 2002. "A Canon Across Time: György Kurtág's Officium Breve in memoriam Andreae Szervánszky, op. 28". Studia Musicologica Academiae Scientiarum Hungaricae 43, nos. 3–4 : 383–396.
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Perle, George. 1985. The Operas of Alban Berg, Vol. II: Lulu. Berkeley: University of California Press. .
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Maes, Francis. 2002. A History of Russian Music From Kamarinskaya to Babi Yar. [Translated by Arnold J. Pomerans and Erica Pomerans]. Berkeley and Los Angeles: University of California Press. .
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Peyser, Joan. 2008. To Boulez and Beyond. Revised ed. Lanham, MD: Scarecrow Press. .
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Ho, Allan B. and Dmitry Feofanov. 2011, rev 2014. The Shostakovich Wars. https://www.siue.edu/~aho/ShostakovichWars/SW.pdf
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Haimo, Ethan. 2006. Schoenberg's Transformation of Musical Language. Cambridge: Cambridge University Press. .
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Büchner's Woyzeck and the Pericope Adulterae." In Georg Büchner: Contemporary Perspectives, edited by Robert Gillett, 79–91. Leiden: Brill. . .
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Moldenhauer, Hans, and Rosaleen Moldenhauer. 1978. Anton von Webern: A Chronicle of His Life and Work. New York: Alfred A. Knopf. London: Gollancz. .
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Kater, Michael. 1999. Composers of the Nazi Era: Eight Portraits. Oxford University Press.
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Fitch, Fabrice. 2000. Webern Complete Edition. The Gramophone. Vol. 78: 74 .
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Moldenhauer, Hans. 1961. The Death of Anton Webern: A Drama in Documents. New York: Philosophical Library. OCLC 512111
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Wodak, Ruth. The Discursive Construction of National Identity. Edinburgh University Press, 2009.
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Jarman, Douglas. 2017. "'Frisch, Fromm, Fröhlich, Frei': The Deutscher Turnerbund and the Berg Violin Concerto." Musicologica Austriaca: Journal for Austrian Music Studies .
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Adorno, Theodor W. and Alban Berg. 2005. Correspondence 1925–1935. Edited by Henri Lonitz. [Translated by Wieland Hoban]. Cambridge, UK and Malden, MA: Polity Press. .
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Anton Webern transparent signature bw.png
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Webern in Stettin, October 1912
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Webern in Stettin, October 1912
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1945-09-15
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After seeing Webern's Op. 5 manuscript in mid-1909, Schoenberg described a rather Webernian aesthetic, which invigorated his own music, in a letter to Ferruccio Busoni: "Harmony is expression and nothing else. ... Away with Pathos! Away with protracted ten-ton scores .... My music must be brief. Concise! In two notes: not built, but expressed!! And the results I wish for: no stylized and sterile protracted emotion. People are not like that: it is impossible for a person to have only one sensation at a time. One has thousands simultaneously. ... And this variegation, this multifariousness, this illogicality which our senses demonstrate, the illogicality presented by their interactions, set forth by some mounting rush of blood, by some reaction of the senses or the nerves, this I should like to have in my music."
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the journey is spiritual and the music hymnal, comprising a chromatic double canon in contrary motion featuring chorale-like stepwise melodic motifs, all rising prominently in this excerpt as "God compassionately receives you." Over suddenly lower, regular tones on the harp, the singer continues, "into that better life" to music that softly swells, with a flute briefly flutter-tonguing against a melody in the clarion register of the clarinet , before fading away: the muted trumpet's faint but bright timbre is relatively exposed in its ascent to C5, and a final C♯6 is sounded on the harp alone. At the US première of Op. 15 by mezzo-soprano Mina Hager and the International Composers' Guild in 1926, which had given the US première of Schoenberg's Op. 21 in 1923, Paul Rosenfeld observed in The Dial: "The tone is simultaneously ethereal and popular. ... What in the elder's characteristic rhythm verges on the hysterical, in the younger man's becomes simultaneously more ethereal and homely."
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"Fahr hin, o Seel', zu deinem Gott" from Fünf geistliche Lieder, Op. 15, bears the influence of Schoenberg's Pierrot lunaire , Op. 21, but Webern is characteristically earnest, not ironic. Whereas in "Heimfahrt," Schoenberg employs the rhythms of a barcarolle with recurrent arcing melodies and tonal inflections to represent Pierrot's playful journey home to Bergamo on a water lily, in Webern's
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A sample from Webern's String Trio , Op. 20, "Sehr langsam", Webern's first published purely instrumental use of twelve-tone technique
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Excerpt of Fünf geistliche Lieder für Sopran und fünf Instrumente, Op. 15, V. Fahr hin, o Seel, zu deinem Gott; Anton Webern, composer, 1917; Peter Rosegger, poet, 1900; and Halina Lukomska, soprano and Pierre Boulez, conductor, 1969.ogg
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Webern - Sehr langsam.ogg
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Except for the violin pieces and a few of my orchestra pieces, all of my works from the Passacaglia on relate to the death of my mother.
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Your 'avowal of faith' has given me extraordinary joy, your avowal of the viewpoint that art has its own laws and that, if one wants to achieve something in it, only these laws and nothing else can have validity. However, as we recognize this we also sense that, the greater the confusion becomes, the graver is the responsibility placed on us to safeguard the heritage given us for the future.
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--06-23
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The Moldenhauers detail Webern's reaction to Otto Klemperer's confused and unsympathetic 1936 ISCM performance of his Symphony , Op. 21, which Webern had earlier played at the piano for Klemperer "with enormous intensity and fanaticism ... passionately".
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Webern, letter to Alban Berg
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Igor Stravinsky lauded Webern in a special edition of Die Reihe
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Louis Krasner, as told to Don C. Seibert and published in Fanfare in 1987. Krasner's pejorative "Bolshevik," in a manner similar to its use against Webern et al. , is language drawn from mostly rightist anti-Bolshevik propaganda.
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George Benjamin, describing Webern's Symphony, Op. 21.
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"Fahr hin, o Seel', zu deinem Gott"
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"Sehr langsam"
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Fünf Sätze for string quartet, Op. 5, I. Heftig bewegt
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أنتون فريدريش فيلهلم فون فيبرن 3 كانون الأول ديسمبر 1883 – 15 سبتمبر تشرين الثاني 1945كان ملحنًا نمساويًا. (في البداية أطلق على نفسه اسم Anton von Webern ، لكنه اضطر إلى التخلي عن "von" بعد قانون مناهضة النبلاء لعام 1919.) جنبًا إلى جنب مع معلمه أرنولد شوينبيرج وزميله ألبان بيرج، كان فيبرن في قلب من هم في دائرة مدرسة فيينا الثانية، بما في ذلك تيودور دبليو أدورنو، وهاينريش جالويتز، وإرنست كرينك. بوصفه داعية لل الوهن وتقنية اثني عشر نغمة، بذلت يبيرن تأثير على معاصريه لويجي دالابيكولا، كرينيك، وحتى شوينبيرج نفسه. كمدرس، قام ويبرن بتوجيه وتأثير أرنولد إلستون، فريدريك دوريان (فريدريك دويتش)، ، ، وكارل أماديوس هارتمان، وفيليب هيرشكوفيتز، ورينيه ليبوفيتز، وهمفري سيرل، وليوبولد سبينر، وستيفان وولب. كانت موسيقى فيبرن من بين أكثر بيئاتها تطرفًا، سواء في إيجازها أو في تخوفها الصارم والحازم من تقنية الإثني عشر نغمة. ابتكاراته في التنظيم التخطيطي للنغمة والإيقاع والتسجيل والجرس والديناميكيات والتعبير والكفاف اللحن؛ شغفه لإعادة تعريف تقنيات كونترابونتال المقلدة مثل الكنسي والشرود؛ وميله نحو التجريد، وغنائية عن أبلغ كثيرا وتوجه داخل وما بعد الحرب الأوروبية، وعادة المسلسل أو الطليعية الملحنين مثل أوليفيه ميسياين، بيير بوليه، كارلهاينز شتوكهاوزن، لويجي نونو، برونو ماديرنا، هينري بوسور، وجيرجي ليجيتي. في غضون ذلك، جذبت موسيقاه في الولايات المتحدة اهتمام إليوت كارتر، الذي تميز تناقضه النقدي بحماسة معينة. ميلتون بابيت، الذي استمد إلهامًا في نهاية المطاف من ممارسة شوينبيرج ذات الإثني عشر نغمة أكثر من تلك التي قام بها ويبرن؛ وإيغور سترافينسكي، الذي أعاد روبرت كرافت تقديمه بشكل مثمر للغاية. خلال فترة ما بعد الحرب وبعدها بفترة وجيزة، تم استقبال فيبرن بعد وفاته باهتمام تم تحويله أولاً من تربيته الاجتماعية والثقافية ومحيطه، علاوة على ذلك، ركز في اتجاه يتعارض على ما يبدو مع مشاركته في الرومانسية الألمانية والتعبيرية. بدأ فهم أكثر ثراءً فيبرن في الظهور في النصف الأخير من القرن العشرين، ولا سيما في عمل العلماء كاثرين بيلي، وجوليان جونسون، وفيليكس ماير، وآن شريفلر، باعتبارهم مؤرشفين وكتّاب سير ذاتية (الأهم من ذلك، تمكن هانز وروزالين مولدنهاور) من الوصول إلى الرسومات والرسائل والمحاضرات والتسجيلات الصوتية وغيرها من المقالات أو المرتبطة بممتلكات فيبرن.
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Anton Webern (Viena, 3 de desembre de 1883 - , Salzburg, 15 de setembre de 1945) fou un compositor austríac. Va ser membre de l'anomenada Segona Escola de Viena. Com a estudiant i brillant seguidor d'Arnold Schönberg, és un dels més coneguts exponents del dodecafonisme; a més, les seues innovacions referents a l'organització sistemàtica d'altura, ritme i dinàmica van ser decisives per a l'estil musical conegut més tard com serialisme.
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Anton Webern (3. prosince 1883, Vídeň, Rakousko - 15. září 1945 Mittersill poblíž Salcburku, Rakousko) byl rakouský skladatel a dirigent období expresionismu, stoupenec a žák Arnolda Schönberga a obdivovatel Mahlerovy hudby.
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Ο Άντον Βέμπερν (Anton Friedrich Wilhelm von Webern, Βιέννη, 3 Δεκεμβρίου 1883 – 15 Σεπτεμβρίου 1945) ήταν Αυστριακός συνθέτης.
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Anton Friedrich Wilhelm von Webern (3 December 1883 – 15 September 1945), better known as Anton Webern (German: [ˈantoːn ˈveːbɐn]), was an Austrian composer and conductor whose music was among the most radical of its milieu in its sheer concision, even aphorism, and steadfast embrace of then novel atonal and twelve-tone techniques. With his mentor Arnold Schoenberg and his colleague Alban Berg, Webern was at the core of those within the broader circle of the Second Viennese School. Little known in the earlier part of his life, mostly as a student and follower of Schoenberg, but also as a peripatetic and often unhappy theater music director with a mixed reputation as an exacting conductor, Webern came to some prominence and increasingly high regard as a vocal coach, choirmaster, conductor, and teacher during Red Vienna. With Schoenberg away at the Prussian Academy of Arts (and with the benefit of a publication agreement secured through Universal Edition), Webern began writing music of increasing confidence, independence, and scale during the latter half of the 1920s—his mature chamber and orchestral works, music that, perhaps more than his earlier expressionist works, would later decisively influence a generation of composers. Amid Austrofascism, Nazism, and World War II, Webern remained nevertheless committed to taking the "path to the new music", as he styled it in a series of private lectures delivered in 1932–1933 (but unpublished until 1960). He continued writing some of his most mature and later celebrated music while increasingly ostracized from official musical life as a "cultural Bolshevist", taking occasional copyist jobs from his publisher as he lost students and his conducting career. Following his death shortly after World War II, Webern became more widely celebrated and influential than ever before, albeit initially through pedagogy often lacking full context, and the thread of his work was taken by composers in directions far beyond any residual post-Romanticism and expressionism that had remained in his style. His gradual innovations in schematic organization of pitch, rhythm, register, timbre, dynamics, articulation, and melodic contour; his later adaptation and generalization of imitative contrapuntal techniques such as canon and fugue; and his inclination toward athematicism, abstraction, and lyricism variously informed and oriented European, typically serial or avant-garde composers such as Olivier Messiaen, Pierre Boulez, Karlheinz Stockhausen, Luigi Nono, Bruno Maderna, Henri Pousseur, Bernd Alois Zimmermann, and György Ligeti. Later, both Brian Ferneyhough and Helmut Lachenmann also found much in Webern on the way to complexity in the case of the former and musique concrète instrumentale in the case of the latter, engaging particularly with his atonal works by some contrast to earlier post-Webernism. Less so in the United States, his music attracted the interest of Elliott Carter and Aaron Copland, whose critical ambivalence was marked by a certain enthusiasm and fascination nonetheless; Milton Babbitt, who ultimately derived more inspiration from Schoenberg's twelve-tone practice than that of Webern; and particularly Igor Stravinsky, to whom it was very fruitfully reintroduced by Robert Craft, and without which Stravinsky's late works might have taken different shape. Indeed, Stravinsky staked his contract with Columbia Records to see that Webern's "complete" music was first both recorded and widely distributed. Among the more interdisciplinary New York School, John Cage and Morton Feldman both cited the staggering effect of its sound on their own music, first meeting at a performance of the Symphony, Op. 21, and even singing the praises of Christian Wolff distinctly as "our Webern". A richer and more historically informed understanding of Webern and his music began to emerge during the latter half of the 20th century onward in the work of Kathryn Bailey Puffett, Julian Johnson, Felix Meyer, and Anne Shreffler as archivists, biographers, and musicologists, most importantly Hans and Rosaleen Moldenhauer, gained access to sketches, letters, lectures, audio recordings, and other articles of or associated with Webern's estate.
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Anton Webern (naskiĝis la 3-an de decembro 1883 en Vieno; mortis la 15-an de septembro 1945 en Mittersill) estis aŭstria komponisto de klasika muziko kaj membro de la tiel nomata Dua Viena Skolo. Li naskiĝis Anton Friedrich Wilhelm von Webern, sed neniam uzis siajn mezajn nomojn, kaj ne plu uzis la nobelulan titolon von ekde 1918.
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Anton Webern (* 3. Dezember 1883 in Wien; † 15. September 1945 in Mittersill, Salzburg, Österreich; vollständiger Name: Anton Friedrich Wilhelm von Webern; das „von“ musste er 1919 aufgrund des Adelsaufhebungsgesetzes ablegen) war ein österreichischer Komponist und Dirigent. Als einer der ersten Schüler von Arnold Schönberg gehörte er zum inneren Kreis der Wiener Schule.
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Anton Webern (Viena, 1883ko abenduaren 3a - Mittersill, Salzburgo, 1945eko irailaren 15a) austriar musikagilea izan zen. 1902. urtean Vienako unibertsitatean sartu zen eta Guido Adlerrekin musikologia-ikasketak egin zituen. Choralis Constantinus eta Errenazimentuko flandestar musikagileen kontrapuntuari buruzko doktore-tesia idatzi zuen. 1904-1908. urteetan Arnold Schönbergen ikasle izan zen, eta geroago lankide, Vienako Musika Funtzio Pribatuen Elkartean. 1908tik aurrera Viena, Danzig, Praga eta beste hiri batzuetako antzokietako zuzendari izan zen. 1922-1934. urteetan Vienako Langileen Orkestra Sinfonikoaren kontzertuetako zuzendari izan zen. Zenbait alditan BBCko orkestrako zuzendari gonbidatua ere izan zen. Alban Bergekin batera, Schoenbergen eskolako musikagile nagusietako bat izan zen, eta teknika dodekafoniko edo hamabi soinukoetan maisu. Webernen musikaren ezaugarri nagusiak musika tresnen konbinazio bitxiak, doinu etenak eta laburtasuna dira. Lan aipagarriak ditu: Passacaglia (1908); 5 mugimendu (1909); Sei lan orkestrarako (1910); 6 Bagatelles (1913); Begietako argia (1935), korurako; Bariazioak (1940); bi kantata (1939-1943); liedak; kanonak eta beste musikagileen lanen moldaketak.
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Anton (von) Webern (Viena, 3 de diciembre de 1883-Mittersill, Salzburgo; 15 de septiembre de 1945) fue un compositor austríaco. Fue miembro de la llamada Segunda Escuela de Viena. Como estudiante y brillante seguidor de Arnold Schoenberg, es uno de los más conocidos exponentes del dodecafonismo; además, sus innovaciones referentes a la organización sistemática de altura, ritmo y dinámica fueron decisivas para el estilo musical conocido más tarde como serialismo.
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Anton Webern ( audio), né le 3 décembre 1883 à Vienne et mort le 15 septembre 1945 à Mittersill, est un compositeur et chef d'orchestre autrichien. Un des premiers élèves d’Arnold Schönberg, il appartient au premier cercle de la Seconde école de Vienne. Son nom à la naissance est Anton Friedrich Wilhelm von Webern, mais il abandonne la particule von en application de la loi autrichienne de 1919.
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Anton von Webern adalah seorang komposer terkenal dari Austria yang bernama lengkap Anton Friedrich Wilhelm von Webern. Dia lahir di Vienna, Austria tanggal 3 Desember 1883 dan meninggal saat 15 September 1945 di dekat Salzburg. Dia terkenal dengan the 12-tone Viennese school (12 nada ). Lebih khususnya, Webern terkenal dengan Passacaglianya yang digunakan untuk orkestra dan berbagai macam musik lainnya.
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안톤 폰 베베른(Anton von Webern, 1883년 ~ 1945년)은 오스트리아의 작곡가이다.
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アントン・フリードリヒ・ヴィルヘルム・フォン・ヴェーベルン（Anton Friedrich Wilhelm von Webern, 1883年12月3日 - 1945年9月15日）は、オーストリアの作曲家、指揮者、音楽学者。ウェーベルンとも書かれる。 シェーンベルクやベルクと並んで新ウィーン楽派の中核メンバーであり、なおかつ20世紀前半の作曲家として最も前衛的な作風を展開した。このため、生前は顧られる機会がほとんどなかったが、戦後の前衛音楽勃興の中で再評価され、世界的に多くの作曲家に影響を与えた。
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Anton Friedrich Wilhelm von Webern, meglio noto come Anton Webern (Vienna, 3 dicembre 1883 – Mittersill, 15 settembre 1945), è stato un compositore austriaco. Fu uno dei primi allievi e seguaci di Arnold Schönberg e appartenne alla cosiddetta seconda scuola di Vienna. Nel 1925 Webern adottò definitivamente la dodecafonia appena essa fu teorizzata dal suo maestro Arnold Schönberg: tecnica compositiva della quale - anche per gli sviluppi tecnici che ebbero le sue idee da parte della successiva generazione di compositori - si sarebbe rivelato esponente originalissimo. La sua embrionale organizzazione dei sistemi di altezze, ritmo e dinamica divenne infatti il modello originario di una delle principali tecniche compositive della seconda metà del XX secolo, del quale si parla in generale come di serialismo integrale.
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Anton Friedrich Wilhelm (von) Webern (ur. 3 grudnia 1883 w Wiedniu, zm. 15 września 1945 w Mittersill) – austriacki kompozytor współczesny. Jedna z czołowych postaci drugiej szkoły wiedeńskiej.
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Anton Webern (Viena, 3 de dezembro de 1883 — Mittersill, Salzburgo, 15 de setembro de 1945) foi um compositor austríaco, pertencente à chamada Segunda Escola de Viena, liderada por Arnold Schönberg, cujo estilo e poética musical foi denominado de música dodecafônica, música expressionista ou música pontilhista. É conhecido e admirado entre os músicos pós-modernos pelas inovações rítmicas, timbrísticas e dinâmicas que formaram o estilo musical conhecido como serialismo.
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Anton Friedrich Wilhelm (von) Webern (Wenen, 3 december 1883 – Mittersill, 15 september 1945) was een Oostenrijks componist en als leerling van Arnold Schönberg lid van de Tweede Weense School. Als zeer vooruitstrevend componist is zijn invloed op met name de naoorlogse avant-garde nauwelijks te overschatten.
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Anton Webern (fullständigt namn Anton Friedrich Wilhelm von Webern), född 3 december 1883 i Wien, död 15 september 1945 i Mittersill i Salzburg, var en österrikisk kompositör och dirigent.
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Антон Ве́берн, также Антон фон Ве́берн (нем. Anton Webern, нем. Anton von Webern; 3 декабря 1883, Вена — 15 сентября 1945, Миттерзилль, Австрия) — австрийский композитор и дирижёр, один из основателей Новой венской школы.
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安东·弗雷德里克·威廉·冯·韦伯恩（德語：Anton Friedrich Wilhelm von Webern，德语发音：[ˈantoːn ˈveːbɐn] （）；1883年12月3日－1945年9月15日），又译魏本，奥地利作曲家，第二维也纳乐派代表人物之一。
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Антон Веберн, також Антон фон Веберн (нім. Anton Webern або Anton von Webern, 3 грудня, 1883, Відень — 15 вересня 1945 Міттерзілль, поблизу Зальцбурга Австрія) — австрійський композитор, диригент представник «Нової віденської школи».
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131777
