Anton Webern - Concerto for nine instruments, Op. 24
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- Опубліковано 5 вер 2024
- 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.
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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.
Every morning I enjoy a bowl of serial.
One of my favorite pieces of music of all time
0:00 1st mvt.
2:30 2nd mvt.
4:38 3rd mvt.
+
Thank you
Rarely played in public. Nice to have it on You Tube.
I'm reading a Slayer guitar book and suddenly I come across a chapter that says "The first Raining Blood riff is the same three-note cell that serves as the building block for the 12-tone row that the early-20th century composer Anton Webern used for his Concerto op. 24". I think I should share this.
wrong. Slayer's riff: (G)-E-Bb-B and Webern's B- Bb- D/Eb
Absolutely brilliant composition.
why?
@@joriomachadlli81Почему нет?
@@joriomachadlli81It manages to generate the entirety of its aural landscape out of a sequence of three notes; a soundscape that is quite well taken advantage of with a compelling use of texture and rhythm as profound driving forces for the music.
This is a canonic exemple of the serial work, considering thet the series cans be divided in four segments of three sounds which ave specific properties - which interfere with that of the series. the construction by cells of 3 sounds is obvious.
Very difficult to analyse, the beginning and end works fine, but the complexity is 1) the twelvenote series is spread over all instruments, and other times the piano has it own series while the rest of the instruments share another serie. 2) He transposes the serie (and inverts the serie etc) frequently so it is difficult to detect where the new serie begins!
This is also a canonic example of a typical awful performance of Webern's music. Dynamics are, for the most part, completely ignored and there is no sense of large-scale climax.
In a letter to one of his student Webern said that the series of the konzert it's like the latin motto Sator Arepo Tenet Opera Rotas because it can be played in four different ways, just like the latin motto can be read in four ways
@@giorgiozangarinizanga5159 You are perfectly right, my dear friend. The latin "magic square "Sator Arepo Tenet Opera Rotas " which must be written in a 5*5 square to perfectly understand its unique properties is often quoted in books, studies and theses about Webern and I often use it myself in my own commentaries. In addition, Webern added a rythmic 'rallentendo do' based upon the old relationship 3:2 (which can be extrapolated as "paving the way to generalized serialism", which is in my opinion a too ambitiopus vision, but the idea is here). The instruments used increase the contrast. My only point is thet Webern's tempo is a bit fast, so we cannot understand this miraculous construction at the first hearing (however, the piano "response" shows us the direction where to find). Congrats.
@@jimjiminy76 And also temps, and also rhytms
a great example of ......minimalist atonality....a refreshing break from tonal music....
Masterpiece!
Espectacular
Wonderful! I gotta say, Webern is becoming one of my favourite composers, and he's really made a believer out of me with regards to serialism. One thing which I found a bit off-putting watching the video, is why the upper stave of the piano part so often sounds at a lower pitch to the lower stave. It seems upside-down, although I guess it's because the right-handed material is on the upper stave...? It must make it hard to sight read, though. I'm going to go get this score from the university library and try transcribing it into Reason and playing it with synth timbres on my computer.
As someone who has tried to sight read a piece by Webern, yes it is tremendously difficult.
One slight pedantic correction would be that Webern is an exponent of dodecaphony and not serialism.
+Steven Moore
Hey Oooooh!
You get that in Webern's piano writing. The physicality of the gesture seems to be an important part of the performance
@@Flatscores i'm sure you're right. So as long as we're here whats the diff - in lay terms? I"m a big fan of Webern and ironically op 24 had escaped my notice until recently. I have listened to opuses (opii?) 1, 5, 20, 21, 22, 27, 28 and 30 for many years. Are there clearly defined periods of atonality, serialism, dodecaphony? Thx.
Great !!!
Im not sure if it is this piece, but someone commented on Webern that all his pieces sound the same. I'm paraphrasing the comment but i I'll put quotes around the paraphrase to set it off from my words "all he does is take 12 notes and runs them forward, then backwards" and so on. It made me bristle probably because there is some truth in the comment. But his conclusion also paraphrased went something like "as a result all his works sound the same." That is where i draw my sword. I listen to Webern every day. Every day. The only other composer i listen to every day is Elliott Carter. The latters works would likely never receive such a comment. In fact quite the opposite. EC is more likely to be seen or "felt" as writing works which meander, lack coherence and so on. Staying with Webern, the dynamic in Webern both with regard to the musical stave and the heard sound world might be criticized for a dearth of notes. Literally as in one ... to heck with it. The comment that it "all sounds the same" is wrong. Ftr Webern is a staggering genius. I might be accused of always saying the same thing about W; i can live with it. I pity the fool.
2:32 second movement starts
This sounds like what my little brother would make in GarageBand
Wow, your brother must be an incredible composer!
He must be a genius. Garage band is all you need also. Give him some encouragement next time you see him
There's a reason for that. In the 60s and again in the 80s modern pop rock and synth musicians were very into this post war bohemian composition stuff and a lot of it has filtered down.
Ah I think I'm startIng to get 12 tone music. I can hear the patterns.
From op 20 to the end we have a corpus of works that redefined all of Western tradition that includes Nietsche, Kafka, Freud, Schoenberg and Einstein.
Also Varese
@@sonder152 not quite
Another composer, Varese that is, who is clearly top rank given his fan base. I never quite found his works to rise to a level of sublimity, passion and finally sheer enjoyment as a listener to rank him that high.
Fab!
Curious idea that the second movement be a waltz. It is not even in triple time. Is this description based on the piano's accompaniment figures somehow?
By the way, I like the interpretation. Which is it?
Giuseppe Sinopoli with Staatskapelle Dresden. And yes it has a triple feel. look at the notes, 2 quarter notes rest or 3 quarter notes following each other. Duple meter has been done on purpose to give it less of a 1,2,3 trad. waltz feel.
Yes this disparity between the actual meter and feel is something i've noticed in Webern too. The first movement of his Variations for piano for example starts off in a similarly confusing way, especially given the first rest.
@@maxmcwhirter5456 The relationship between the musical figures and meter is by no means simple in Webern, but I don't think Op. 24/2 has a triple feel in an consistent fashion, only at places. As for Op. 27/1, there are hints of the written meter quite early, as the lowest left-hand notes accentuate downbeats of bars 2 and 3.
Giuseppe Sinopoli and the Dresden Staatskapelle ???
if this were a painting it would look more realistic than most other music
And maybe we don't like reality so we listen to music
That makes absolutely no sense when you understand the techniques used for weberns body of work and their purpose
Hi, thanks for all the information. I was wondering if you had the score complete. Im from Argentina and i can't find it anywhere in the web. Thanks
2:30 2nd mov.
20c 초반 음악
베베른 - [아홉 악기를 위한 협주곡] op.24
★제 3기 [12음 기법]
[12음 기법] : [완전한 무조성 음악]을 [성취]하기 위하여 [음렬]을 만들어 [12음을 모두 한번씩 사용]한다는 것이다.
이렇게 해서 만들어진 (음의 나열)을 [＊기본 음렬] 이라고 한다.
기본음렬을 [1)전위] [2)역행] [3)전위역행] 시켜 [철저하기 무조적]이며 [체계화된 음악]을 만드는 작곡 기법이다.
[베베른] : 베베른의 작품은 [매우 짧고] [밀도]있으며 [완벽한 형식]을 갖추고 있다.
[1920년]대 중반 [이후] : 12음기법 사용
베베른의 음악은 [음정 도약이 심하고] [음색이 자주 변화함] 에 따라 음악의 흐름이 [점들의 연속]처럼 들리는 인상 때문에
[★ 점묘주의] 음악이라고도 불린다.
이때 사용된 12음 기법은 [음의 길이] [음색] [셈여림]으로 [★확대] 된 것이 특징으로
1950년대 이후 [★총렬음악에 큰 영향]을 미쳤다.
It's interesting that very great responsible performers in recorded performance dont follow to our ears the composers dynamic marks . They are performers they know what can be done . We need to ask them since few of us play these works in performance . Don't doubt the performer questio what is possible . Maybe Webern ,Berg and countless others did'n t really know what came across in performance of this music .Look at 2nd movement of famous variations .Ive seen many films and performers dont cross the hands where they are supposed to .Why is this . I just read a paper on Webern variations and Nicholas Cook's Beyond the Score Performance and Practice and John Rink talk about performance objectives vs. analytical observance .
Once Webern was invited to conduct Berg's violin concerto. He had three rehearsals. On the first one he managed to make several bars of introduction as it would be, but it took all the rehearsal time. Manager was shocked, Webern was immediately thrown off and last two rehearsals were spent with an average conductor and an average result.
I. 00:00
II. 02:32:
III. 4:37
0:00 - 2:30
0:00/2:29!!! (Unordered)
Terry, why do you like that sound?
3 - 3,0,1,4 [101100]
音级集合名称，音高级，音程涵量
0:00
who are the performers?
2악장 2:32
I tried to hum this, and hurt myself.
Rois et reine desplechin
Les amateurs de serialisme peuvent ils dire à quelle " stimmung " ils associent tel ou tel mouvement ?
Ceci est une question , dont une réponse cinglante de morgue ne serait pas une réponse.
Serialism didn't work.
Your ears don't
0k shut up
Spare composing for terrible times .
Webern almost never has a melodic major or minor second. That's why his music all sounds the same.
Ever listened to Im Sommerwind?
Do you honestly think I meant to include his early tonal works in my statement, or are you just trying to demonstrate how smart you are?
jaspernatchez
what. how did you get that from my comment? you said that all of webern's music sounds the same for almost never including a major or minor and second, so I asked if you had heard a major work of his that actually does happen to be entirely tonal. how did you come to the conclusion that I was trying to be smart?
"what. how did you get that from my comment?"I asked you this question because it should have been obvious to anyone that my statement did not include his early, tonal works. since my original comment refers to his works all sounding the same, and obviously his early work sounds nothing like his later work. I guess your question was just stupid. Sorry if I accused you of trying to be smart and you were not doing that.
jaspernatchez When you listen attentively you find the stylistic uniqueness of each work. And this has nothing to do with major and minor seconds. Palestrina avoids leaps of sevenths in his melodic lines and still achieves divergence of style.
mid