Anton Webern - Six Pieces for Orchestra, Op. 6 (1909)
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- Опубликовано: 13 сен 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.
Six Pieces for Orchestra, Op. 6 (1909)
1. Etwas bewegte (revised as Langsam)
2. Bewegte
3. Zart bewegte (revised as Mäßig)
4. Langsam marcia funebre (revised as Sehr mäßig)
5. Sehr langsam
6. Zart bewegt (revised as Langsam)
Staatskapelle Dresden conducted by Giuseppe Sinopoli
Description by John Keillor
In 1909, Anton Webern wrote his Six Pieces for Orchestra, Op. 6, as his first attempt to apply the atonal musical language to a large ensemble. It was a productive year for the 26-year-old composer, who had made startling progress in his compositional technique. Listening to his orchestral Passacaglia, Op. 1, from the previous year, reveals an unprecedented degree of musical growth. In terms of syntax and orchestration, his teacher Arnold Schoenberg was the trailblazer. Fate handed Webern the will and ability to uniquely realize his former teacher's compositional discoveries.
Op. 6 plumbed the depths of Schoenberg's notion of Klangfarbenmelodie (tone-color melody) which fashions the different tone colors available in the orchestra with melodic shapes. Schoenberg created a famous example with his Five Pieces for Orchestra, Op. 16, in the previous year. The third movement, named "Farben" (Colors), caused an enormous amount of speculation and study in attempt to discern a system that apparently does not exist. For Webern, the idea suited his need for pure expression, so that instruments and timbres recur quasi-thematically at key points in the same manner of tempo, pitches, and rhythm, to create coherence out of music's raw components. While Webern's Op. 1 was Brahmsian in style, his Op. 6 was Mahlerian. Gustav Mahler's symphonies had grappled with the nuances of orchestral color to an unprecedented degree, constantly recombining groups of instruments to heighten the nuances of late-Romantic expression. Webern's Op. 6 follows through with six different explorations of Klangfarbenmelodie that, while not revealing a codified system, uses sparse textures to clearly reveal the idea at work. Webern's orchestral movements come across as meditations of regret presented with great self-control. When the entire orchestra plays, which is rare, it is not an expressively wild gesticulation, but a swelling of emotion that is heartfelt, yet never released without extended anticipation. This represents a great inner intensity that never brushes shoulders with despair or madness. In this way, the spirit of Brahms' cool exterior and simmering undercurrent still held Webern fast and would continue to do so throughout his writing career. In spite of this, the Op. 6 premiere on March 31, 1913, ended in a full-scale riot. One uncharitable critic wrote that its instrumentation "can only be described in terms of a barnyard." Webern, traumatized by the event, fled to a spa near Trieste to recuperate.
There is so much flavor in the tone colors Webern has beautifully crafted!!!
A very imaginative work. Orchestral writing is very sophisticated and full of richness. I think this one of the best works by Webern, a benchmark of the early 20th century music.
Yes
"sa rigueur intellectuelle, sa probité, son courage, sa ligne de conduite, sa persévérance restent toujours un modèle unique dans notre littérature musicale
contemporaine." Pierre Boulez
I : 0:00 Etwas bewegt (assez animé)
II : 0:53 Bewegt (agité)
III : 2:14 Zart bewegt (doucement animé))
IV : 3:16 Langsam, marcia funebre (lent, marche funèbre)
V : 8:12 Sehr langsam (très lent)
VI : 11:06 Zart bewegt (doucement animé)
merci monique
Written in 1909 but co-opted to this day (2022) in film scores. I feel like this work is just barely holding on to traditional romantic structure and tonality. So evocative and ahead of its time.
@Mark Leneker, IT is nothing short of STUNNING. It is the arrival of Sigmund Freud, Dream State and Fin De Siecle at its absolute purist.
What film scores used this music?
NB The score on the video is from the original version for big orchestra, but the audio is from the revised version (1928) for a somewhat smaller orchestra
Очень рад, что еще кто то воспринемает подобную музыку!🚲
I’ve only recently found this & it really knocked me out.
Brilliant
Beautiful! Thanks for sharing!
Sinopoli: great person, great regretted artist
OIt has an eerie, sinister quality that is quite gripping.
So beautiful!
Beautiful.
Great imagination in the orchestral writing of "Klangfarbenmelodie".
you and your senseless use of smart-looking German words. Klangfarbenmelodie. Who cares? Gershwin is better without those smart words.
Why are we talking about Gershwin?
@@frog546 He'll talk about Micky Mouse if he thinks someone will look at his channel.
Ok so this isn't Dodecaphonic music . Could'a fooled me! This is free atonality ; Schoenberg didn't develop his system until 1923 .
Fantastic works!
That closing of the second piece 😳
It's very easy to forget that this predates Stravinsky's Rite of Spring?
Very interesting to compare Stravinskij's and Webern's revolutions. The former was fighted at first - but soon accepted - as "the" revolution; the latter was long ignored because too radical.
This is pure genius. Way beyond anything Stravinsky could ever hope to write.
@@scottmcgill559 lol
@@Qazwdx111 👍
Sinopoli best conductor for Webern
№1. Ожидание беды 0:00
№2. Наступление неотвратимого 0:54
№3. Нежнейшая противоположность 2:15
IV. at 3:17
STUNNING..... GENIUS. This work is nothing short of STUNNING. It is the arrival of Sigmund Freud, Dream State and Fin De Siecle at its absolute purist. It is MUSIC ART DIRECTION beyond the imagination. It is German Expressionist Silent Film ART in MUSIC ....years ahead of Robert Wiene {Caligari} Fritz Lang{Spione}and Pabst{Lulu}
If you make electronic music, this is required listening.
If you are alive, this is required.
why, might I ask?
@@zzingping3674 timbre and subtlety! you have to have a keen ear for it if you make any kind of electronic music, especially ambient, because you can underestimate how much a certain texture can drastically change the mood of a piece
Genius.
ウエーベルン大好き
Did someone say Indiana Jones soundtrack?
On doit se demander ce que Mahler a pensé des ouvres de Webern
This is not the 1909 version, but the 1928 arrangement. I'd rather the 1909. The score is really 1909.
So get the 1909 version, edit it, post it, do something. You show the world how it has to be done.
@@bartjebartmans ok
@@bartjebartmansJust what he said is informative.
@@yssimon9058 It is informative as far as it goes to what he prefers. It has nothing to do with the resources I have. I don't have every score, exactly fitting the audio.
@@bartjebartmansI appreciate everything you post! Ignore the trolls and armchair critics!
Bass drop at 8'10'', if you're in a hurry.
;-)
Did someone say Edgard Varese......
my exact thoughts, i wonder if webern ever got a chance to hear his music in his life? Probably not considering the distance and how often varese was performed. Those two could’ve been great friends though
HallMonitor Webern didn't even hear much his own music. I think his works were only manuscripts until 30's then he got rarely performed (and poorly performed according to Schoenberg)
I would say more like Mahler on acid than Varese.
Although Varese's music of course sounds and works in a way quite distinct from this, I can see where you might be coming from. The harps at the end of the fifth movement are remarkably similar to the harps in the beginning of Varese's Ameriques, and the fourth movement has some parallels to Deserts...
スコアは原典版ですが演奏は改訂版でのであってません。楽器が違ってます。
確かに違いますね。第2曲・練習番号５以降で、楽譜ではHr.もやっているはずの和声が、弦セクションだけになっているくだりあたりなど、顕著ですね。他に、どんな違いがありましたでしょうか。
kyvcbs さん
原典版にあるエスクラリネットがピッコロに置き換わってます。特に第四曲のエスクラリネットの大ソロはピッコロではきれいごとで終わってしまいつまらないです。
譜面上の音高は同じでも、楽器が変わると聴覚上の印象（テンションの度合い）もまるで変わる、というやつですね（…と云っておきながら、私はここの演奏では気が付きませんでした……）。Es.cl によるソロは、悲痛な叫びのように聴こえます。私はどちらかと云えば、音楽全体に響きの拡がりを感じるという点で、原典版の方が好みです。
圧倒的に原典版のほうがすぐれていると思いますが、編成が巨大なのに音が薄く、全曲ほとんど休みで、ほんのちょっとだけしか吹かない管楽器が多数あるのでプロの演奏会ではコスト的に見合わないのでしょう。演奏機会を増やすために改訂版を作ったのだと思います。
VI at 11:06
Way ahead of it's time. Very intense...But I can't help envisioning Star Trek.
Is this his handwriting?
lol no, im sure it was not as good as this. Im sure very very few composers had handwriting like this. I heard Zappas manuscripts looked really nice though.
Écoutez le maître
this started a riot??
lml
the 3 continuing slow movements, too boring.
perfect for a Satanic movie, nothing else.
Or Disney. Same thing.
You mean Hitchcock?
Cry harder.