Anton Webern - Six Pieces for Orchestra, Op. 6 (1909)
Музыка
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.
Пікірлер: 71
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.
@Lopfff
10 ай бұрын
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
There is so much flavor in the tone colors Webern has beautifully crafted!!!
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
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.
@blackbrownbeige55
2 жыл бұрын
@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.
@reev9759
6 ай бұрын
What film scores used this music?
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)
@richardboyer1080
5 жыл бұрын
merci monique
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!
OIt has an eerie, sinister quality that is quite gripping.
So beautiful!
Fantastic works!
Beautiful.
Great imagination in the orchestral writing of "Klangfarbenmelodie".
@AndreyRubtsovRU
6 жыл бұрын
you and your senseless use of smart-looking German words. Klangfarbenmelodie. Who cares? Gershwin is better without those smart words.
@frog546
5 жыл бұрын
Why are we talking about Gershwin?
@auscomvic9900
5 жыл бұрын
@@frog546 He'll talk about Micky Mouse if he thinks someone will look at his channel.
That closing of the second piece 😳
It's very easy to forget that this predates Stravinsky's Rite of Spring?
@qoluk
5 жыл бұрын
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.
@scottmcgill559
2 жыл бұрын
This is pure genius. Way beyond anything Stravinsky could ever hope to write.
@Qazwdx111
Жыл бұрын
@@scottmcgill559 lol
@scottmcgill559
Жыл бұрын
@@Qazwdx111 👍
Ok so this isn't Dodecaphonic music . Could'a fooled me! This is free atonality ; Schoenberg didn't develop his system until 1923 .
Genius.
№1. Ожидание беды 0:00 №2. Наступление неотвратимого 0:54 №3. Нежнейшая противоположность 2:15
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}
Sinopoli best conductor for Webern
ウエーベルン大好き
If you make electronic music, this is required listening.
@MastanehNazarian
5 жыл бұрын
If you are alive, this is required.
@zzingping3674
2 жыл бұрын
why, might I ask?
@fire.walk.with.me.430
Ай бұрын
@@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
IV. at 3:17
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。
@kyvcbs
6 жыл бұрын
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。
@shinadahiroyuki9147
6 жыл бұрын
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。
@kyvcbs
6 жыл бұрын
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。
@shinadahiroyuki9147
6 жыл бұрын
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。
Way ahead of it's time. Very intense...But I can't help envisioning Star Trek.
Did someone say Indiana Jones soundtrack?
This is not the 1909 version, but the 1928 arrangement. I'd rather the 1909. The score is really 1909.
@bartjebartmans
6 жыл бұрын
So get the 1909 version, edit it, post it, do something. You show the world how it has to be done.
@Qazwdx111
Жыл бұрын
@@bartjebartmans ok
@yssimon9058
Жыл бұрын
@@bartjebartmansJust what he said is informative.
@bartjebartmans
Жыл бұрын
@@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.
@danb2622
11 ай бұрын
@@bartjebartmansI appreciate everything you post! Ignore the trolls and armchair critics!
Bass drop at 8'10'', if you're in a hurry. ;-)
On doit se demander ce que Mahler a pensé des ouvres de Webern
VI at 11:06
Did someone say Edgard Varese......
@fryingwiththeantidote2486
6 жыл бұрын
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
@LouisGuillotYT
6 жыл бұрын
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)
@Forestier1
5 жыл бұрын
I would say more like Mahler on acid than Varese.
@NateSassoonMusic
7 ай бұрын
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...
Is this his handwriting?
@fryingwiththeantidote2486
6 жыл бұрын
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.
@stueystuey1962
2 жыл бұрын
Or Disney. Same thing.
@rubeng9092
Жыл бұрын
You mean Hitchcock?
@kennethdower7425
3 ай бұрын
Cry harder.