- go to the top
- About WN
- Contact
- Feedback
- Privacy Policy
- © 2012 World News Inc., all Rights Reserved
Anton Webern
- Loading...
Loading suggestions ...
-
Alban Berg
Alban Maria Johannes Berg (February 9, 1885 – December 24, 1935) was an Austrian composer. He was a member of the Second Viennese School with Arnold Schoenberg and Anton Webern, and produced compositions that combined Mahlerian Romanticism with a personal adaptation of Schoenberg's twelve-tone technique.
http://wn.com/Alban_Berg -
Arnold Schoenberg
Arnold Schoenberg () (13 September 1874 – 13 July 1951) was an Austrian and later American composer, associated with the expressionist movement in German poetry and art, and leader of the Second Viennese School. He used the spelling Schönberg until after his move to the United States in 1934 (Steinberg 1995, 463), whereupon he altered it to Schoenberg "in deference to American practice" (Foss 1951, 401), though one writer claims he made the change a year earlier (Ross 2007, 45).
http://wn.com/Arnold_Schoenberg -
Austria
Austria or (), officially the Republic of Austria (German: ), is a landlocked country of roughly 8.3 million people in Central Europe. It is bordered by Germany and the Czech Republic to the north, Slovakia and Hungary to the east, Slovenia and Italy to the south, and Switzerland and Liechtenstein to the west. The territory of Austria covers and has a temperate and alpine climate. Austria's terrain is highly mountainous due to the presence of the Alps; only 32% of the country is below , and its highest point is . The majority of the population speaks German, which is also the country's official language. Other local official languages are Croatian, Hungarian and Slovene.
http://wn.com/Austria -
Franz Liszt
Franz Liszt (, from 1859 to 1867 officially Franz Ritter von Liszt) (October 22, 1811July 31, 1886) was a Hungarian composer, virtuoso pianist and teacher.
http://wn.com/Franz_Liszt -
Franz Schubert
Franz Peter Schubert (; January 31, 1797 – November 19, 1828) was an Austrian composer.
http://wn.com/Franz_Schubert -
Friedrich Cerha
Friedrich Cerha (born 17 February 1926) is an Austrian composer and conductor.
http://wn.com/Friedrich_Cerha -
Georg Trakl
Georg Trakl (3 February 1887, Salzburg – 3 November 1914, Kraków) was an Austrian poet. He is considered one of the most important Austrian Expressionists.
http://wn.com/Georg_Trakl -
Heinrich Isaac
Heinrich Isaac (also known as Ysaac, Ysaak, Henricus, '''Arrigo d'Ugo, and Arrigo il Tedesco' – Tedesco'' meaning "Flemish" or "German" in Italian) (around 1450-55 – March 26, 1517) was a Franco-Flemish composer of the Renaissance, of south Netherlandish origin. He is regarded as one of the most significant contemporaries of Josquin des Prez, and had an especially large influence on the subsequent development of music in Germany.
http://wn.com/Heinrich_Isaac -
Johann Strauss II
Johann Strauss II (October 25, 1825 – June 3, 1899; also known as fully Johann Baptist Strauss, and Johann Strauss, Jr., the Younger, or the Son () was an Austrian composer of light music, particularly dance music and operettas. He composed over 500 waltzes, polkas, quadrilles, and other types of dance music, as well as several operettas and a ballet. In his lifetime, he was known as "The Waltz King", and was largely responsible for the popularity of the waltz in Vienna during the 19th century.
http://wn.com/Johann_Strauss_II -
Karlheinz Essl
Karlheinz Essl (born August 15, 1960) is an Austrian composer, performer, sound artist, improviser and composition teacher.
http://wn.com/Karlheinz_Essl -
List of Austrians
Famous or notable Austrians include:
http://wn.com/List_of_Austrians -
Luigi Nono
Luigi Nono (; January 29, 1924 – May 8, 1990) was an Italian avant-garde composer of classical music and remains one of the most prominent composers of the 20th century.
http://wn.com/Luigi_Nono -
Pierre Boulez
Pierre Boulez () (born March 26, 1925) is a French composer of contemporary classical music and a conductor.
http://wn.com/Pierre_Boulez -
Rainer Maria Rilke
Rainer Maria Rilke (4 December 1875 – 29 December 1926) was a Bohemian–Austrian poet and art critic. He is considered one of the most significant poets in the German language. His haunting images focus on the difficulty of with the ineffable in an age of disbelief, solitude, and profound anxiety: themes that tend to position him as a transitional figure between the traditional and the modernist poets.
http://wn.com/Rainer_Maria_Rilke -
Ton de Leeuw
Antonius Wilhelmus Adrianus de Leeuw (born Rotterdam, 16 November 1926; died Paris, 31 May 1996) was a Dutch composer. He was known for his experiments with microtonality.
http://wn.com/Ton_de_Leeuw
-
Austria
Austria or (), officially the Republic of Austria (German: ), is a landlocked country of roughly 8.3 million people in Central Europe. It is bordered by Germany and the Czech Republic to the north, Slovakia and Hungary to the east, Slovenia and Italy to the south, and Switzerland and Liechtenstein to the west. The territory of Austria covers and has a temperate and alpine climate. Austria's terrain is highly mountainous due to the presence of the Alps; only 32% of the country is below , and its highest point is . The majority of the population speaks German, which is also the country's official language. Other local official languages are Croatian, Hungarian and Slovene.
http://wn.com/Austria -
Gdansk
http://wn.com/Gdansk -
Prague
Prague (; , see also ) is the capital and largest city of the Czech Republic. Nicknames for Prague have included: Praga mater urbium/Praha matka měst ("Prague – Mother of Cities") in Latin/Czech, Stověžatá Praha ("City of a Hundred Spires") in Czech and Zlaté město/Goldene Stadt ("Golden City") in Czech/German.
http://wn.com/Prague -
Salzburg (state)
{{Infobox settlement
http://wn.com/Salzburg_(state) -
Stettin
http://wn.com/Stettin -
Switzerland
Switzerland (, , , ), officially the Swiss Confederation (Confoederatio Helvetica in Latin, hence its ISO country codes CH and CHE), is a federal republic consisting of 26 cantons, with Bern as the seat of the federal authorities. The country is situated in Western Europe where it is bordered by Germany to the north, France to the west, Italy to the south, and Austria and Liechtenstein to the east.
http://wn.com/Switzerland -
Vienna
Vienna (; ; ) is the capital of the Republic of Austria and one of the nine states of Austria. Vienna is Austria's primary city, with a population of about 1.7 million (2.3 million within the metropolitan area, more than 25% of Austria's population), and is by far the largest city in Austria, as well as its cultural, economic, and political centre. It is the 10th largest city by population in the European Union. Vienna is host to many major international organizations such as the United Nations and OPEC.
http://wn.com/Vienna
- Anschluss
- Arnold Schoenberg
- atonality
- Austria
- Austrian nobility
- Avant garde
- black market
- canon (music)
- col legno
- composer
- Concerto (Webern)
- Conducting
- Deutsche Grammophon
- flutter tonguing
- Franz Liszt
- Franz Schubert
- Friedrich Cerha
- Gdansk
- Georg Trakl
- Graz
- Guido Adler
- Harmony
- Heinrich Isaac
- invariance (music)
- Ischl
- Johann Strauss II
- Karlheinz Essl
- Klagenfurt
- Klangfarbenmelodie
- List of Austrians
- Luigi Nono
- Mittersill
- musical ensemble
- Musical Offering
- musicology
- Nazi Party
- Ogg
- orchestra
- orchestration
- palindromic
- Pierre Boulez
- Prague
- Rainer Maria Rilke
- romantic music
- Salzburg (state)
- Schatz-Walzer
- serialism
- song
- Stefan George
- Stettin
- string quartet
- Switzerland
- Teplitz
- tetrachord
- timbre
- Ton de Leeuw
- tone poem
- tone row
- Universal Edition
- Vienna
- Vienna University
- Werner Reinhart
- Winterthur
RELEASE
ALBUMS
Complete Songs With Piano (feat. soprano: Svetlana Savenko, piano: Yuri Polubelov)
(Released 2007)
add all to playlist
select all
- Drei Gedichte - Vorfrühling
- Drei Gedichte - Nachtgebet der Braut
- Drei Gedichte - Fromm
- Acht Lieder - Tief von fern
- Acht Lieder - Aufblick
- Acht Lieder - Blumengruß
- Acht Lieder - Bild der Liebe
- Acht Lieder - Sommerabend
- Acht Lieder - Heiter
- Acht Lieder - Der Tod
- Acht Lieder - Heimgang in der Frühe
- Drei Lieder - Gefunden
- Drei Lieder - Gebet
- Drei Lieder - Freunde
- Fünf Lieder - Ideale Landschaft
- Fünf Lieder - Am Ufer
- Fünf Lieder - Himmelfahrt
- Fünf Lieder - Nächtliche Scheu
- Fünf Lieder - Helle Nacht
- Vier Lieder - Erwachen aus dem tiefsten Traumesschoße
- Vier Lieder - Kunfttag I
- Vier Lieder - Trauer I
- Vier Lieder - Das lockere Saatgefilde
- Fünf Lieder, Op. 3 aus Der Siebente Ring - Dies ist ein Lied
- Fünf Lieder, Op. 3 aus Der Siebente Ring - Im Windesweben
- Fünf Lieder, Op. 3 aus Der Siebente Ring - An Bachesranft, Im Morgentaun
- Fünf Lieder, Op. 3 aus Der Siebente Ring - Im Morgentaun
- Fünf Lieder, Op. 3 aus Der Siebente Ring - Kahl reckt der Baum
- Fünf Lieder, Op. 4 - Eingang
- Fünf Lieder, Op. 4 - Noch zwingt mich Treue
- Fünf Lieder, Op. 4 - Ja Heil und Dank dir
- Fünf Lieder, Op. 4 - So ich traurig bin
- Fünf Lieder, Op. 4 - Ihr tratet zu dem Herde
- Vier Lieder, Op. 12 - Der Tag ist vergangen
- Vier Lieder, Op. 12 - Die geheimnisvolle Flöte
- Vier Lieder, Op. 12 - Schien mir's, als ich sah die Sonne
- Vier Lieder, Op. 12 - Gleich und Gleich
- Drei Gesänge, Op. 23 - Das dunkle Herz
- Drei Gesänge, Op. 23 - Es stürzt aus Höhen Frische
- Drei Gesänge, Op. 23 - Herr Jesus mein
- Drei Lieder, Op. 25 - Wie bin ich froh!
- Drei Lieder, Op. 25 - Des Herzens Purpurvogel
- Drei Lieder, Op. 25 - Sterne, ihr silbernen Bienen
Symphony, Op. 21 / Six Pieces, Op. 6 / Concerto for Nine Instruments, Op. 24 (feat. conductor: Robert Craft)
(Released 2004)
add all to playlist
select all
- Symphony, Op. 21: I. Ruhig, schreitend
- Symphony, Op. 21: II. Variationen
- 5 Canons on Latin Texts, Op. 16: I. Christus factus est
- 5 Canons on Latin Texts, Op. 16: II. Dormi Jesu
- 5 Canons on Latin Texts, Op. 16: III. Crux fidelis
- 5 Canons on Latin Texts, Op. 16: IV. Asperges me
- 5 Canons on Latin Texts, Op. 16: V. Crucem tuam adoramus
- 3 Traditional Rhymes, Op. 17: I. Armer Sünder, du
- 3 Traditional Rhymes, Op. 17: II. Heiland, unsre Missetaten
- 3 Traditional Rhymes, Op. 17: III. Liebste Jungfrau, wir sind dein
- 3 Songs, Op. 18: No. 1, Schatzerl klein
- 3 Songs, Op. 18: No. 2, Erlösung
- 3 Songs, Op. 18: No. 3, Ave Regina
- String Trio, Op. 20: I. Sehr langsam
- String Trio, Op. 20: II. Sehr getragen und ausdrucksvoll
- Quartet, Op. 22: I. Sehr mässig
- Quartet, Op. 22: II. Sehr schwungvoll
- Variations for Piano, Op. 27: I. Sehr mässig
- Variations for Piano, Op. 27: II. Sehr schnell
- Variations for Piano, Op. 27: III. Ruhig fliessend
- 6 Pieces for Orchestra, Op. 6 (Revised Version): I. Langsam
- 6 Pieces for Orchestra, Op. 6 (Revised Version): II. Bewegt
- 6 Pieces for Orchestra, Op. 6 (Revised Version): III. Massig
- 6 Pieces for Orchestra, Op. 6 (Revised Version): IV. Sehr massig
- 6 Pieces for Orchestra, Op. 6 (Revised Version): V. Sehr langsam
- 6 Pieces for Orchestra, Op. 6 (Revised Version): VI. Langsam
- 4 Pieces for Violin and Piano, Op. 7: I. Sehr langsam
- 4 Pieces for Violin and Piano, Op. 7: II. Rasch
- 4 Pieces for Violin and Piano, Op. 7: III. Sehr langsam
- 4 Pieces for Violin and Piano, Op. 7: IV. Bewegt
- 3 Pieces for Cello and Piano, Op. 11: I. Mässige Achtel
- 3 Pieces for Cello and Piano, Op. 11: II. Sehr bewegt
- 3 Pieces for Cello and Piano, Op. 11: III. Äusserst ruhig
- Concerto for Nine Instruments, Op. 24: I. Etwas lebhaft
- Concerto for Nine Instruments, Op. 24: II. Sehr langsam
- Concerto for Nine Instruments, Op. 24: II. Sehr rasch
- German Dances, D. 820: I. No. 1 in A-flat major
- German Dances, D. 820: II. No. 1 in A-flat major cont.
- German Dances, D. 820: III. No. 1 in A-flat major cont.
- German Dances, D. 820: IV. No. 2 in B-flat major
- German Dances, D. 820: V. No. 2 in B-flat major cont.
- German Dances, D. 820: VI. No. 2 in B-flat major cont.
- Slow Movement for String Quartet (1905)
- String Quartet (1905)
- Rondo for String Quartet (1906)
- Five Movements for String Quartet, Op. 5: I. Heftig bewegt
- Five Movements for String Quartet, Op. 5: II. Sehr Langsam
- Five Movements for String Quartet, Op. 5: III. Sehr Bewegt
- Five Movements for String Quartet, Op. 5: IV. Sehr Langsam
- Five Movements for String Quartet, Op. 5: V. In Zarter Bewegung
- Four Pieces for Violin and Piano, Op. 7: I. Sehr Langsam
- Four Pieces for Violin and Piano, Op. 7: II. Rasch
- Four Pieces for Violin and Piano, Op. 7: III. Sehr Langsam
- Four Pieces for Violin and Piano, Op. 7: IV. Bewegt
- Six Bagatelles for String Quartet, Op. 9: I. Mäßig
- Six Bagatelles for String Quartet, Op. 9: II. Leicht Bewegt
- Six Bagatelles for String Quartet, Op. 9: III. Ziemlich Fließend
- Six Bagatelles for String Quartet, Op. 9: IV. Sehr Langsam
- Six Bagatelles for String Quartet, Op. 9: V. Äußerst Langsam
- Six Bagatelles for String Quartet, Op. 9: VI. Fließend
- Sonata for Cello and Piano (1914)
- Three Little Pieces for Cello and Piano, Op. 11: I. Mäßige Achtel
- Three Little Pieces for Cello and Piano, Op. 11: II. Sehr Bewegt
- Three Little Pieces for Cello and Piano, Op. 11: II. Äußerst Ruhig
- String Trio, Op. 20: I. Sehr Langsam
- String Trio, Op. 20: II. Sehr Getragen Und Ausdrucksvoll Zart Bewegt
- String Quartet, Op. 28: I. Mäßig
- String Quartet, Op. 28: II. Gemächlich Fließend
- String Quartet, Op. 28: III. Sehr Fließend
Passacaglia / Symphony / Five Pieces (Ulster Orchestra, feat. Conductor Takuo Yuasa)
(Released 2001)
add all to playlist
select all
- Passacaglia, Op. 1
- Five Movements for Strings, Op. 5: I. Heftig bewegt, Tempo I
- Five Movements for Strings, Op. 5: II. Sehr langsam
- Five Movements for Strings, Op. 5: III. Sehr lebhaft
- Five Movements for Strings, Op. 5: IV. Sehr langsam
- Five Movements for Strings, Op. 5: V. In zarter bewegung
- Six Pieces, Op. 6: I. Langsam
- Six Pieces, Op. 6: II. Bewegt
- Six Pieces, Op. 6: III. Mässig
- Six Pieces, Op. 6: IV. Sehr mässig
- Six Pieces, Op. 6: V. Sehr langsam
- Six Pieces, Op. 6: VI. Langsam
- Five Pieces, Op. 10: I. Sehr ruhig und zart
- Five Pieces, Op. 10: II. Lebhaft und zart bewegt
- Five Pieces, Op. 10: III. Sehr langsam und äusserst zart
- Five Pieces, Op. 10: IV. Fliessend, äusserst zart
- Five Pieces, Op. 10: V. Sehr fliessend
- Symphony, Op. 21: I. Ruhig, schreitend
- Symphony, Op. 21: II. Variationen
- Variations, Op. 30
Complete Works for String Quartet & String Trio (Artis Quartett Wien)
(Released 2001)
add all to playlist
select all
- Langsamer Satz
- String Quartet (1905)
- Rondo for String Quartet
- Five Movements for String Quartet, Op. 5: I. Heftig bewegt Tempo I - Etwas ruhiger Tempo II
- Five Movements for String Quartet, Op. 5: II. Sehr langsam
- Five Movements for String Quartet, Op. 5: III. Sehr bewegt
- Five Movements for String Quartet, Op. 5: IV. Sehr langsam
- Five Movements for String Quartet, Op. 5: V. In zarter Bewegung
- Six Bagatelles for String Quartet, Op. 9: I. Mäßig
- Six Bagatelles for String Quartet, Op. 9: II. Leicht bewegt
- Six Bagatelles for String Quartet, Op. 9: III. Ziemlich fließend
- Six Bagatelles for String Quartet, Op. 9: IV. Sehr langsam
- Six Bagatelles for String Quartet, Op. 9: V. Äußerst langsam
- Six Bagatelles for String Quartet, Op. 9: VI. Fließend
- Statz für Streichtrio, Op. Post: Ruhig fließend
- String Trio, Op. 20: I. Sehr langsam
- String Trio, Op. 20: II. Sehr getragen und ausdrucksvoll
- String Quartet, Op. 28: I. Mäßig
- String Quartet, Op. 28: II. Gemächlich
- String Quartet, Op. 28: III. Sehr fließend
- Slow Movement for String Quartet: Langsam, mit bewegtem Ausdruck
- 5 Movements for String Quartet: I. Heftig bewegt
- 5 Movements for String Quartet: II. Sehr langsam
- 5 Movements for String Quartet: III. Sehr bewegt
- 5 Movements for String Quartet: IV. Sehr langsam
- 5 Movements for String Quartet: V. In zarter Bewegung
- String Quartet
- 6 Bagatelles for String Quartet: I. Mäßig
- 6 Bagatelles for String Quartet: II. Leicht bewegt
- 6 Bagatelles for String Quartet: III. Ziemlich fließend
- 6 Bagatelles for String Quartet: IV. Sehr langsam
- 6 Bagatelles for String Quartet: V. Äußerst langsam
- 6 Bagatelles for String Quartet: VI. Fließend
- Rondo for String Quartet: Bewegt
- Movement for String Trio: Ruhig fließend
- 3 Pieces for String Quartet: I. Bewegt
- 3 Pieces for String Quartet: II. "Schmerz immer Blick nach oben" Langsam
- 3 Pieces for String Quartet: III. Nicht zu langsam
- String Trio, Op. 20: I. Sehr langsam
- String Trio, Op. 20: II. Sehr getragen und ausdrucksvoll
- String Quartet, Op. 28: I. Mäßig
- String Quartet, Op. 28: II. Gemächlich
- String Quartet, Op. 28: III. Sehr fließend
- Quatuor "1905", M. 79
- Cinq mouvements pour quatuor à cordes, Op. 5: I. Heftig bewegt
- Cinq mouvements pour quatuor à cordes, Op. 5: II. Sehr langsam
- Cinq mouvements pour quatuor à cordes, Op. 5: III. Sehr bewegt
- Cinq mouvements pour quatuor à cordes, Op. 5: IV. Sehr langsam
- Cinq mouvements pour quatuor à cordes, Op. 5: V. In zarter Bewegung
- Six bagatelles pour quatuor à cordes, Op. 9: I. Mäßig
- Six bagatelles pour quatuor à cordes, Op. 9: II. Leicht bewegt
- Six bagatelles pour quatuor à cordes, Op. 9: III. Ziemlich fließend
- Six bagatelles pour quatuor à cordes, Op. 9: IV. Sehr langsam
- Six bagatelles pour quatuor à cordes, Op. 9: V. Äußerst langsam
- Six bagatelles pour quatuor à cordes, Op. 9: VI. Fließend
- Quatuor, Op. 28: I. Mäßig
- Quatuor, Op. 28: II. Gemächlich
- Quatuor, Op. 28: III. Sehr fließend
- Langsamer Satz, M. 78
- Rondo, M. 115
Boulez Conducts Webern III (Berlin Philharmoniker feat. conductor: Pierre Boulez)
(Released 1996)
add all to playlist
select all
- 5 Pieces for Orchestra (1913): I. Bewegt
- 5 Pieces for Orchestra (1913): II. Langsam (sostenuto)
- 5 Pieces for Orchestra (1913): III. Sehr bewegte Viertel
- 5 Pieces for Orchestra (1913): IV. Langsame Viertel
- 5 Pieces for Orchestra (1913): V. (Alla breve)
- 3 Orchestral Songs (1913-14): I. Leise Düfte
- 3 Orchestral Songs (1913-14): II. Kunfttag III
- 3 Orchestral Songs (1913-14): III. O sanftes Glühn der Berge
- Symphony, Op. 21: I. Ruhig, schreitend
- Symphony, Op. 21: II. Variationen
- Das Augenlight, Op. 26
- Cantata No. 1, Op. 29: I. Zündender Lichtblitz des Lebens
- Cantata No. 1, Op. 29: II. Kleiner Flügel Ahornsamen
- Cantata No. 1, Op. 29: III. Tönen die seligen Saiten Apolls
- Variations for Orchestra, Op. 30
- Cantata No. 2, Op. 31: I. Schweigt auch die Welt
- Cantata No. 2, Op. 31: II. Sehr tief verhalten innerst Leben
- Cantata No. 2, Op. 31: III. Schöpfen aus Brunnen des Himmels
- Cantata No. 2, Op. 31: IV. Leichteste Bürden der Bäume
- Cantata No. 2, Op. 31: V. Freundselig ist das Wort
- Cantata No. 2, Op. 31: VI. Gelockert aus dem Schosse
- Piano Quintet (1907)
- Entflieht auf leichten Kähnen, Op. 2
- 2 Songs, Op. 8: I. Du, der ichs nicht sage
- 2 Songs, Op. 8: II. Du machst mich allein
- 5 Pieces for Orchestra, Op. 10: I. Sehr ruhig und zart
- 5 Pieces for Orchestra, Op. 10: II. Lebhaft und zart bewegt
- 5 Pieces for Orchestra, Op. 10: III. Sehr langsam und äusserst ruhig
- 5 Pieces for Orchestra, Op. 10: IV. Fliessend, äusserst zart
- 5 Pieces for Orchestra, Op. 10: V. Sehr fliessend
- 4 Songs, Op. 13: I. Weise im Park: Wie wird mir zeitlos
- 4 Songs, Op. 13: II. Die Einsame: An dunkelblauem Himmel
- 4 Songs, Op. 13: III. In der Fremde: Im fremdem Lande lag ich
- 4 Songs, Op. 13: IV. Ein Winterabend: Wenn der Schnee ans Fenster fällt
- 6 Songs, Op. 14: I. Die Sonne: Täglich kommt die gelbe Sonne
- 6 Songs, Op. 14: II. Abendland I: Mond, als träte ein Totes
- 6 Songs, Op. 14: III. Abendland II: So leise sind die grünen Wälder
- 6 Songs, Op. 14: IV. Abendland III: Ihr grossen Städte steinern aufgebaut
- 6 Songs, Op. 14: V. Nachts: Die Bläue meiner Augen
- 6 Songs, Op. 14: VI. Gesang einer genfangenen Amsel: Dunkler Odem im grünen Gezweig
- 5 Sacred Songs, Op. 15: I. Das Kreuz, das musst' er tragen
- 5 Sacred Songs, Op. 15: II. Morgenlied: Steht auf, ihr lieben Kinderlein
- 5 Sacred Songs, Op. 15: III. In Gottes Namen aufstehen
- 5 Sacred Songs, Op. 15: IV. Mein Weg geht jezt vorüber
- 5 Sacred Songs, Op. 15: V. Fahr hin, o Seel', zu deinem Gott
- 5 Canons on Latin Texts, Op. 16: I. Christus factus est
- 5 Canons on Latin Texts, Op. 16: II. Dormi Jesu, mater ridet
- 5 Canons on Latin Texts, Op. 16: III. Crux fidelis
- 5 Canons on Latin Texts, Op. 16: IV. Asperges me, Domine
- 5 Canons on Latin Texts, Op. 16: V. Crucem tuam adoramus, Domine
- 3 Traditional Rhymes, Op. 17: I. Armer Sünder, du
- 3 Traditional Rhymes, Op. 17: II. Liebste Jungfrau, wir sind dein
- 3 Traditional Rhymes, Op. 17: III. Heiland, unsre Missetaten
- 3 Songs, Op. 18: I. Schatzerl klein
- 3 Songs, Op. 18: II. Erlösung: Mein Kind, sieh an
- 3 Songs, Op. 18: III. Ave, Regina coelorum
- 2 Songs, Op. 19: I. Weiss wie Lillen
- 2 Songs, Op. 19: II. Ziehn die Schafe
- Quartet, Op. 22: I. Sehr mässig
- Quartet, Op. 22: II. Sehr schwungvoll
- Concerto for Nine Instruments, Op. 24: I. Etwas lebhaft
- Concerto for Nine Instruments, Op. 24: II. Sehr langsam
- Concerto for Nine Instruments, Op. 24: III. Sehr rasch
Boulez Conducts Webern II (Berliner Philharmoniker feat. conductor: Pierre Boulez)
(Released 1995)
add all to playlist
select all
- Passacaglia for Orchestra, Op. 1
- Five Movements (version for string orchestra), Op. 5: I. Heftig bewegt
- Five Movements (version for string orchestra), Op. 5: II. Sehr langsam
- Five Movements (version for string orchestra), Op. 5: III. Sehr lebhaft
- Five Movements (version for string orchestra), Op. 5: IV. Sehr langsam
- Five Movements (version for string orchestra), Op. 5: V. In zarter Bewegung
- Six Pieces for Orchestra, Op. 6 No. 1: Etwas bewegte
- Six Pieces for Orchestra, Op. 6 No. 2: Bewegte
- Six Pieces for Orchestra, Op. 6 No. 3: Zart bewegte
- Six Pieces for Orchestra, Op. 6 No. 4: Langsam marcia funebre
- Six Pieces for Orchestra, Op. 6 No. 5: Sehr langsam
- Six Pieces for Orchestra, Op. 6 No. 6: Zart bewegt
- Fuga (Ricercata) a 6 voci (from 'The Musical Offering')
- German Dances, D. 820: I. No. 1 - No. 2 (No. 1) - No. 3 (No. 1)
- German Dances, D. 820: II. No. 4 - No. 5 (No. 4) - No. 6 (No. 4)
- Im Sommerwind (Idyll for Large Orchestra)
- Pierrot Lunaire. Part I
- Pierrot Lunaire. part II
- Pierrot Lunaire. Part III
- Concerto, Op. 24. Etwas lebhaft
- Concerto, Op. 24. Sehr langsam
- Concerto, Op. 24, Sehr rasch
Complete Works (Juilliard String Quartet & London Symphony Orchestra feat. conductor: Pierre Boulez)
(Released 1991)
add all to playlist
select all
- Passacaglia für großes Orchester, Op. 1
- Entflieht auf leichten Kähnen, Op. 2
- Fünf Lieder aus "Der siebente Ring', Op. 3 Nr. 1: Dies ist ein Lied für dich allein: Fließend
- Fünf Lieder aus "Der siebente Ring', Op. 3 Nr. 2: In Windesweben: Sehr fließend
- Fünf Lieder aus "Der siebente Ring', Op. 3 Nr. 3: Am Bachesranft: Ziemlich rasch
- Fünf Lieder aus "Der siebente Ring', Op. 3 Nr. 4: Im Morgentaun: Fließend
- Fünf Lieder aus "Der siebente Ring', Op. 3 Nr. 5: Kahl reckt der Baum: Langsam
- Fünf Lieder, Op. 3 Nr. 1: Eingang: Ruhevoll
- Fünf Lieder, Op. 3 Nr. 2: Noch zwingt mich Treue: Bewegt
- Fünf Lieder, Op. 3 Nr. 3: Ja Heil und Dank: Sehr langsam
- Fünf Lieder, Op. 3 Nr. 4: So ich traurig bin: Sehr fließend und zart
- Fünf Lieder, Op. 3 Nr. 5: Ihr tratet zu dem Herde: Langsam
- Fünf Sätze für Streichquartett, Op. 5: I. Heftig bewegt
- Fünf Sätze für Streichquartett, Op. 5: II. Sehr langsam
- Fünf Sätze für Streichquartett, Op. 5: III. Sehr bewegt
- Fünf Sätze für Streichquartett, Op. 5: IV. Sehr langsam
- Fünf Sätze für Streichquartett, Op. 5: V. In zarter Bewegung
- Sechs Stücke für großes Orchestrer, Op. 6 Nr. 1: Etwas bewegte Achtel
- Sechs Stücke für großes Orchestrer, Op. 6 Nr. 2: Bewegt
- Sechs Stücke für großes Orchestrer, Op. 6 Nr. 3: Zart bewegt
- Sechs Stücke für großes Orchestrer, Op. 6 Nr. 4: Langsam
- Sechs Stücke für großes Orchestrer, Op. 6 Nr. 5: Sehr langsam
- Sechs Stücke für großes Orchestrer, Op. 6 Nr. 6: Zart bewegt
- Vier Stücke für Geige und Klavier, Op. 7 Nr. 1: Sehr langsam
- Vier Stücke für Geige und Klavier, Op. 7 Nr. 2: Rasch
- Vier Stücke für Geige und Klavier, Op. 7 Nr. 3: Sehr langsam
- Vier Stücke für Geige und Klavier, Op. 7 Nr. 4: Bewegt
- Zwei Lieder für mittlere Stimme und acht Instrumente, Op. 8 Nr. 1: Du, der ich nicht sage: Langsam
- Zwei Lieder für mittlere Stimme und acht Instrumente, Op. 8 Nr. 2: Du machst mich allein: Sehr langsam
- Sechs Bagatellen für Streichquartett, Op. 9 Nr. 1: Mäßig
- Sechs Bagatellen für Streichquartett, Op. 9 Nr. 2: Leicht bewegt
- Sechs Bagatellen für Streichquartett, Op. 9 Nr. 3: Ziemlich fließend
- Sechs Bagatellen für Streichquartett, Op. 9 Nr. 4: Sehr langsam
- Sechs Bagatellen für Streichquartett, Op. 9 Nr. 5: Äußerst langsam
- Sechs Bagatellen für Streichquartett, Op. 9 Nr. 6: Fließend
- Fünf Stücke für Orchester, Op. 10 Nr. 1: Sehr ruhig und zart
- Fünf Stücke für Orchester, Op. 10 Nr. 2: Lebhaft und zart bewegt
- Fünf Stücke für Orchester, Op. 10 Nr. 3: Sehr langsam und äußerst ruhig
- Fünf Stücke für Orchester, Op. 10 Nr. 4: Fließend, äußerst zart
- Fünf Stücke für Orchester, Op. 10 Nr. 5: Sehr fließend
- Drei kleine Stücke für Violoncello und Klavier, Op. 11 Nr. 1: Mäßige Achtel
- Drei kleine Stücke für Violoncello und Klavier, Op. 11 Nr. 2: Sehr bewegt
- Drei kleine Stücke für Violoncello und Klavier, Op. 11 Nr. 3: Äußerst ruhig
- Vier Lieder für Singstimme und Klavier, Op. 12 Nr. 1: Der Tag ist vergangen: Sehr ruhig
- Vier Lieder für Singstimme und Klavier, Op. 12 Nr. 2: Die geheimnisvolle Flöte: Langsam
- Vier Lieder für Singstimme und Klavier, Op. 12 Nr. 3: Schien mir's als ich sah die Sonne: Ruhig fließend
- Vier Lieder für Singstimme und Klavier, Op. 12 Nr. 4: Gleich und gleich: Sehr fließend
- Drei Gedichte: I
- Drei Gedichte: II
- Drei Gedichte: III
- Drei Avenarius Lieder: I
- Drei Avenarius Lieder: II
- Drei Avenarius Lieder: III
- Fünf Dehmel Lieder: I
- Fünf Dehmel Lieder: II
- Fünf Dehmel Lieder: III
- Fünf Dehmel Lieder: IV
- Fünf Dehmel Lieder: V
- Fünf Lieder Aus "Der Siebente Ring Von Stefan George Op. 3": I
- Fünf Lieder Aus "Der Siebente Ring Von Stefan George Op. 3": II
- Fünf Lieder Aus "Der Siebente Ring Von Stefan George Op. 3": III
- Fünf Lieder Aus "Der Siebente Ring Von Stefan George Op. 3": IV
- Fünf Lieder Aus "Der Siebente Ring Von Stefan George Op. 3": V
- Fünf George Lieder Op. 4: I
- Fünf George Lieder Op. 4: II
- Fünf George Lieder Op. 4: III
- Fünf George Lieder Op. 4: IV
- Fünf George Lieder Op. 4: V
- Vier George Lieder: I
- Vier George Lieder: II
- Vier George Lieder: III
- Vier George Lieder: IV
- Vier Lieder Op. 12: I
- Vier Lieder Op. 12: II
- Vier Lieder Op. 12: III
- Vier Lieder Op. 12: IV
- Drei Gesänge Aus "Viae Inviae Von Hildegard Jone Op. 23": I
- Drei Gesänge Aus "Viae Inviae Von Hildegard Jone Op. 23": II
- Drei Gesänge Aus "Viae Inviae Von Hildegard Jone Op. 23": III
- Drei Jone Lieder Op. 25: I
- Drei Jone Lieder Op. 25: II
- Drei Jone Lieder Op. 25: III
- Slow movement for String Quartet (1905)
- String Quartet (1905)
- Five Movements for String Quartet, Op. 5: I. Heftig bewegt
- Five Movements for String Quartet, Op. 5: II. Sehr langsam
- Five Movements for String Quartet, Op. 5: III. Sehr bewegt
- Five Movements for String Quartet, Op. 5: IV. Sehr langsam
- Five Movements for String Quartet, Op. 5: V. In zarter Bewegung
- Six Bagatelles for String Quartet, Op. 9: I. Mäßig
- Six Bagatelles for String Quartet, Op. 9: II. Leicht bewegt
- Six Bagatelles for String Quartet, Op. 9: III. Ziemlich fließend
- Six Bagatelles for String Quartet, Op. 9: IV. Sehr langsam
- Six Bagatelles for String Quartet, Op. 9: V. Äußerst langsam
- Six Bagatelles for String Quartet, Op. 9: VI. Fließend
- String Quartet, Op. 28: I. Mäßig
- String Quartet, Op. 28: II. Gemächlich
- String Quartet, Op. 28: III. Sehr fließend
Born: 1883-12-03
Died: 1945-09-15
Send this Playlist by SMS
Email this Page
Anton Webern Symphonie op.21
Anton Webern Symphonie op.21 I. Langsam schreitend One of my absolute favorites
http://wn.com/Anton_Webern_Symphonie_op21
Anton Webern - Im Sommerwind (1/2)
Anton Webern (1883-1945) Im Sommerwind, idyll for orchestra (1904) Berli Philarmonic Orchestra Pierre Boulez Im Sommerwind, an "idyll" for large orchestra composed in 1904, is not the very first Anton Webern orchestral piece, as some lists of works and just as many authors seem to indicate. 1903 and 1904 saw the issue of six small items for orchestra (some for full, some just for strings, some more finished than others), items that go by the rather generic title Movement today. But Im Sommerwind was Webern's most ambitious project to date, orchestral and otherwise: except for the above-mentioned Movements, Webern's pre-1904 work consists almost wholly of short songs for voice and piano. The degree to which the ambition that fueled its composition was realized, artistically speaking, is open to some debate. Im Sommerwind was never performed during Webern's lifetime, not for lack of opportunity, but because Webern decided that it, like the rest of the pieces composed before the Passacaglia, Op. 1 (1908), was not worthy of performance. The piece seems, on the other hand, to really have meant something to Webern, and as an effusive imitation of late-Romantic tone-poem style it is not altogether unimpressive. Webern didn't, at any rate, destroy the manuscript, which was unearthed in the post-War years and tidied up for a world premiere performance by Eugene Ormandy and the Philadelphia Orchestra in 1962. The generic but velvety late-Romantic manner of Im Sommerwind is, then <b>...</b>
http://wn.com/Anton_Webern__Im_Sommerwind_1/2
Webern: "Five Pieces For Orchestra"
- Order: Reorder
- Duration: 4:17
- Published: 28 Apr 2009
- Uploaded: 18 Feb 2012
- Author: NewMusicXX
Anton Webern: "Five Pieces For Orchestra" (1911-1913)
http://wn.com/Webern_Five_Pieces_For_Orchestra
Anton Webern - Piano Variations
- Order: Reorder
- Duration: 2:02
- Published: 14 Jun 2008
- Uploaded: 28 Feb 2012
- Author: doctorgsja
Anton Webern's Piano Variations 1st movement -written in 1935 -36.
http://wn.com/Anton_Webern__Piano_Variations
Anton Webern: String Quartet, Op. 28 (1938)
- Order: Reorder
- Duration: 8:05
- Published: 07 Jan 2009
- Uploaded: 29 Feb 2012
- Author: minirausch
I. Mässig II. Gemächlich III. Sehr fliessend Twelve-tone work using Webern's typical distillations of classical form: variations (mvt. 1), scherzo (mvt. 2) and rondo (mvt. 3). Through the use of canon and fugue in the second and particularly third movements, he was proud of his fusion of "horizontal" and "vertical" methods of composition. Lasalle Quartet performs. Art by Paul Klee.
http://wn.com/Anton_Webern_String_Quartet,_Op_28_1938
Glenn Gould plays Webern Variations Opus 27
Webern Variations Opus 27 It would seem to many that this piece by Austrian composer Anton Webern (1883 -- 1945) is the complete opposite of what one would expect from "Bach's Prophet". I had to laugh when one Youtuber responded: "loneliness makes horrible things to one's mental equilibrium.... poor Gould (I'm not ironic, I really feel sorry for him)", as I'm sure many would agree. Gould's absolute precision of such unholy dissonance makes for a downright frightening display. And yet, I have to argue, it shouldn't be too surprising, because the piece is actually in the same vein as Bach. Like Bach, one gets the feeling that Webern has followed a method in order to compose-- a method that is obscure upon listening, complex; and yet we can tell that each section has a certain theme, carried out to seemingly mathematical precision, explored to its fullest and not a bit more. A method that must have made enough sense for Gould to memorize and have intimately mapped in his head. It is paradoxically both the opposite and the continuation of Bach. If we may think of Bach as the "perfect right", as Bach believed his work came from God, almost as if Music itself was its composer, we might think of this piece as the "perfect wrong". Chaos, or apathy, would simply be no composition at all, no forsight; but rather this piece has been carefully and meticulously constructed to be unexpected and jarring to our senses in every way possible (except for the fact that it has the structure <b>...</b>
http://wn.com/Glenn_Gould_plays_Webern_Variations_Opus_27
Anton Webern: Six Bagatelles for String Quartet, Op. 9 (1911-13)
- Order: Reorder
- Duration: 4:13
- Published: 21 Sep 2008
- Uploaded: 27 Feb 2012
- Author: minirausch
Lasalle Quartet performs (rec. 1968). "Non multa sed multum"--one of the earliest examples of the extreme aphoristic style Webern and the Second Viennese were working with around 1910-11. Artwork by Arnold Schoenberg, from www.schoenberg.at .
http://wn.com/Anton_Webern_Six_Bagatelles_for_String_Quartet,_Op_9_1911-13
![Anton Webern: Symphonie, op. 21 [with score]](http://web.archive.org./web/20120313043119im_/http://i.ytimg.com/vi/XKD_tZr-ZpY/0.jpg "Anton Webern: Symphonie, op. 21 [with score]")
Anton Webern: Symphonie, op. 21 [with score]
- Order: Reorder
- Duration: 9:23
- Published: 03 Aug 2010
- Uploaded: 28 Feb 2012
- Author: flammesombres
London Symphony Orchestra under the direction of Pierre Boulez.
http://wn.com/Anton_Webern_Symphonie,_op_21_ with_score
Anton Webern - Variations op. 27, no. 3 (1936)
Anton Webern (3 December 1883 - 15 September 1945) was an Austrian composer and conductor. He was a member of the Second Viennese School. As a student and significant follower of Arnold Schoenberg, he became one of the best-known exponents of the twelve-tone technique; in addition, his innovations regarding schematic organization of pitch, rhythm and dynamics were formative in the musical technique later known as total serialism. Maurizio Pollini, piano
http://wn.com/Anton_Webern__Variations_op_27,_no_3_1936
Anton Webern: Passacaglia op.1 (1908)
- Order: Reorder
- Duration: 11:45
- Published: 25 May 2011
- Uploaded: 16 Feb 2012
- Author: TheWelleszCompany
Anton Webern (1883-1945): Passacaglia per orchestra op.1 (1908) -- Boston Symphony Orchestra diretta da Carlo Maria Giulini (dal vivo: Boston 29 marzo 1974) ---- Themusic published in our channel is exclusively dedicated to divulgation purposes and not commercial. This within a program shared to study classic educational music of the 1900's (mostly Italian) which involves thousands of people around the world. If someone, for any reason, would deem that a video appearing in this channel violates the copyright, please inform us immediately before you submit a claim to Youtube, and it will be our care to remove immediately the video accordingly. Your collaboration will be appreciated.
http://wn.com/Anton_Webern_Passacaglia_op1_1908
Webern Op. 22 preview
- Order: Reorder
- Duration: 4:29
- Published: 06 Jan 2010
- Uploaded: 06 Mar 2011
- Author: mondayeveningconcert
Composer Nick Norton has produced a video preview of Anton Webern's Quartet, op. 22 for saxophone, clarinet, violin and piano. This piece will be performed on the January 11, 2010 Monday Evening Concert at Zipper Concert Hall at the Colburn School in Los Angeles, CA.
http://wn.com/Webern_Op_22_preview
Webern: "Symphony" Op. 21
- Order: Reorder
- Duration: 9:25
- Published: 28 May 2009
- Uploaded: 22 Feb 2012
- Author: NewMusicXX
Anton Webern: Webern: "Symphony" Op. 21 (1928)
http://wn.com/Webern_Symphony_Op_21
The Faust Quartet plays Anton Webern
- Order: Reorder
- Duration: 9:43
- Published: 11 Feb 2009
- Uploaded: 15 Feb 2012
- Author: FaustQuartet
"Langsamer Satz" (1905) by Anton Webern. The Faust Quartet is: 1st Violin: Wojciech Garbowski 2nd Violin: Cordula Frick Viola: Ada Meinich Cello: Birgit Böhme The quartet is based in Cologne, Germany. They can be contacted through the website: www.faust-quartett.de
http://wn.com/The_Faust_Quartet_plays_Anton_Webern
Passacaglia, Op. 1 - Anton Webern
- Order: Reorder
- Duration: 10:20
- Published: 22 Mar 2011
- Uploaded: 27 Feb 2012
- Author: jonascamper
Passacaglia for Orchestra, Op. 1 - Anton Webern The passacaglia is a work by Webern, wich was written in 1918. The record is by "Sony Music Classical" (all rights of the pruducer of the rocord work reserved), LONDON SYMPHONY ORCHESTRA conducted by... Pierre Boulez
http://wn.com/Passacaglia,_Op_1__Anton_Webern
Anton Webern - Variations op. 27, no. 2 (1936)
Anton Webern (3 December 1883 - 15 September 1945) was an Austrian composer and conductor. He was a member of the Second Viennese School. As a student and significant follower of Arnold Schoenberg, he became one of the best-known exponents of the twelve-tone technique; in addition, his innovations regarding schematic organization of pitch, rhythm and dynamics were formative in the musical technique later known as total serialism. Maurizio Pollini, piano
http://wn.com/Anton_Webern__Variations_op_27,_no_2_1936
Anton Webern - Six Bagatelles for String Quartet
- Order: Reorder
- Duration: 4:23
- Published: 09 Nov 2009
- Uploaded: 27 Feb 2012
- Author: pelodelperro
Six Bagatelles for String Quartet, op. 9 (1913) I. Mäβig II. Leicht bewegt III. Ziemlich flieβend IV. Sehr langsam V. Äuβerst langsam VI. Flieβend Juilliard String Quartet (Recorded in New York, February 27, 1970) These tiny, perfectly-proportioned masterpieces (lasting just over three minutes in all) are a milestone in Weber's career -- and, indeed, in the history of Western music: here, for the first time, each single note becomes a complete entity, so that there is no one sound which can be removed from the texture without destroying the sense of the whole. In spite of the tempo fluctuations which can mark the ends of musical sentences, and of the irregular groupings (into two, three, four and five) within each beat, the underlying pulse of the music is clearly present as a fluttering inner urgency -- which occasionally rises to the surface in throbbing repetitions.
http://wn.com/Anton_Webern__Six_Bagatelles_for_String_Quartet
Anton Webern - Im Sommerwind (2/2)
Anton Webern (1883-1945) Im Sommerwind, idyll for orchestra (1904) Berli Philarmonic Orchestra Pierre Boulez Im Sommerwind, an "idyll" for large orchestra composed in 1904, is not the very first Anton Webern orchestral piece, as some lists of works and just as many authors seem to indicate. 1903 and 1904 saw the issue of six small items for orchestra (some for full, some just for strings, some more finished than others), items that go by the rather generic title Movement today. But Im Sommerwind was Webern's most ambitious project to date, orchestral and otherwise: except for the above-mentioned Movements, Webern's pre-1904 work consists almost wholly of short songs for voice and piano. The degree to which the ambition that fueled its composition was realized, artistically speaking, is open to some debate. Im Sommerwind was never performed during Webern's lifetime, not for lack of opportunity, but because Webern decided that it, like the rest of the pieces composed before the Passacaglia, Op. 1 (1908), was not worthy of performance. The piece seems, on the other hand, to really have meant something to Webern, and as an effusive imitation of late-Romantic tone-poem style it is not altogether unimpressive. Webern didn't, at any rate, destroy the manuscript, which was unearthed in the post-War years and tidied up for a world premiere performance by Eugene Ormandy and the Philadelphia Orchestra in 1962. The generic but velvety late-Romantic manner of Im Sommerwind is, then <b>...</b>
http://wn.com/Anton_Webern__Im_Sommerwind_2/2
Spooky Actions performing Anton Webern's Music
- Order: Reorder
- Duration: 6:25
- Published: 26 Apr 2008
- Uploaded: 07 Feb 2012
- Author: bruceedwardarnold
brucearnold.com get more info This is the 2nd Movement from Anton Webern's5 Movements for String Quarte. Spooky Actions performed the 5 movements for String Quartet at the DOM in Moscow Russia in 2005. This performance is available on DVD at muse-eek. Spooky Actions takes music from all eras and uses this music as a springboard for improvisation. Each composer is analysed and the specific compositional devices used by each composer is incorporated in their improvisations. In this case the pitch class set 014 is used as a cell for improvisation. Spooky Actions is a New York based jazz and new-music ensemble whose diverse recordings include the music of 20th century composer Anton Webern, interpretations of Native American music, and most recently, early music from the 2nd century BC through the 1500's. Their unique and compelling sound is being met with critical acclaim and widespread interest. The band was founded in 1997 by John Gunther (sax, clarinet, & flute) and Bruce Arnold (electric processed guitar). The two musicians, both professors at New York University, jammed and felt an immediate musical affinity. When they both started bringing in classical music to improvise over, they were inspired to start making their own transcriptions of early and modern classical music and to create a series of recording projects. I've often thought of music as a vessel of the human spirit, a message in a bottle that can travel across an ocean of time, and deliver a note from Bach <b>...</b>
http://wn.com/Spooky_Actions_performing_Anton_Webern's_Music
Anton Webern - Five Pieces for Orchestra
- Order: Reorder
- Duration: 6:01
- Published: 12 Sep 2011
- Uploaded: 07 Jan 2012
- Author: pelodelperro
Five Pieces for orchestra, Op. 10 (1911-1913) I. Bewegt II. Langsam (sostenuto) III. Sehr bewegte Viertel IV. Langsame Viertel V. (Alla breve) Berliner Philharmoniker Pierre Boulez Anton Webern's Five Pieces for Orchestra, Op. 10 require less than five minutes to perform. The movements are not thematically connected, nor do they include traditional formal plans or tonal relationships. What they do contain is probably the most convincing utilization of Klangfarbenmelodie (tone-color melody) ever and apply an aphoristic approach to composition for orchestra for the first time. These pieces are the last orchestral works Webern published before his adoption of the 12-tone method. His Op. 1 Passacaglia for Orchestra was post-Brahmsian and his Op. 5 orchestral works were atonal, sectional, and hint at the initial implications of the new musical language. Op. 10 expresses only the raw components of musical sound: notes, intervals, scraps of ostinato, rhythms, attack, volume, and tone color. While the Op. 5 was written in brief enough sections and durations to be considered miniatures, Op. 10 does away with the conventions of a traditional orchestral narrative. The result is an aphoristic approach that condenses the sound into one, hyper-expressive text. The result is a spilling over of artistic idea that is undeniable, immediate, and difficult to articulate. What can be discerned is a flow of tone-color that is continually associative. For example, a plucked violin relates to <b>...</b>
http://wn.com/Anton_Webern__Five_Pieces_for_Orchestra
![Anton Webern: String Quartet, op 28 [with score]](http://web.archive.org./web/20120313043119im_/http://i.ytimg.com/vi/xyHIG5rxo7s/0.jpg "Anton Webern: String Quartet, op 28 [with score]")
Anton Webern: String Quartet, op 28 [with score]
- Order: Reorder
- Duration: 8:47
- Published: 29 Aug 2010
- Uploaded: 26 Feb 2012
- Author: flammesombres
Anton von Webern's String Quartet opus 28 with the score, performed here by the Juilliard Quartet.
http://wn.com/Anton_Webern_String_Quartet,_op_28_ with_score
Anton Webern - Variations op. 27, no. 1 (1936)
Anton Webern (3 December 1883 - 15 September 1945) was an Austrian composer and conductor. He was a member of the Second Viennese School. As a student and significant follower of Arnold Schoenberg, he became one of the best-known exponents of the twelve-tone technique; in addition, his innovations regarding schematic organization of pitch, rhythm and dynamics were formative in the musical technique later known as total serialism. Maurizio Pollini, piano
http://wn.com/Anton_Webern__Variations_op_27,_no_1_1936
Anton Webern - Three Songs
- Order: Reorder
- Duration: 3:37
- Published: 29 Jun 2011
- Uploaded: 28 Jan 2012
- Author: pelodelperro
Three Songs for soprano, E flat clarinet & guitar, Op. 18 (1925) I. Schatzerl klein II. Erlösung III. Ave Regina Halina Lukomska, soprano John Williams, guitar Colin Bradley, clarinet Pierre Boulez Anton Webern's Three Songs, Op. 18, are, in character, siblings to his Three Traditional Rhymes, Op. 17, of the previous year; both sets exude a self-assured intimacy and clarity of expressive purpose. The combination of the composer's characteristically sparse textures and an unconventional scoring (soprano voice, E flat clarinet, and guitar) presents a number of special performance challenges, not the least of which is managing to bring out dynamic variety without ever exceeding the volume constraints of the guitar. The rhythmic difficulty of the score and the intervallically challenging voice part risk, in less than fully capable hands, sounding like modernistic pretension; however, a faithful performance reveals the composer's lighthearted approach, and an undercurrent of depth that somehow affirms the goodhearted, free breaths that constitute these minute-long songs. The texts illustrate a flirtation with one's betrothed and the Mother Mary. It is a strange romance to contemporary sensibilities, but it has a prevailing sweetness that affirms both love and faith in a holistic way. Expressionism, which pervaded the Austrian avant-garde as recently as ten years earlier, had more or less been exhausted in the imaginations of most composers. Among Webern's most immediate peers <b>...</b>
http://wn.com/Anton_Webern__Three_Songs
Most Popular
RELATED LINKS
- Alban Berg
- Anschluss
- Arnold Schoenberg
- atonality
- Austria
- Austrian nobility
- Avant garde
- black market
- canon (music)
- col legno
- composer
- Concerto (Webern)
- Conducting
- Deutsche Grammophon
- flutter tonguing
- Franz Liszt
- Franz Schubert
- Friedrich Cerha
- Gdansk
- Georg Trakl
- Graz
- Guido Adler
- Harmony
- Heinrich Isaac
- invariance (music)
- Ischl
- Johann Strauss II
- Karlheinz Essl
- Klagenfurt
- Klangfarbenmelodie
- List of Austrians
- Luigi Nono
- Mittersill
- musical ensemble
- Musical Offering
- musicology
- Nazi Party
- Ogg
- orchestra
- orchestration
- palindromic
- Pierre Boulez
- Prague
- Rainer Maria Rilke
- romantic music
- Salzburg (state)
- Schatz-Walzer
- serialism
- song
- Stefan George
- Stettin
- string quartet
- Switzerland
- Teplitz
- tetrachord
- timbre
- Ton de Leeuw
- tone poem
- tone row
- Universal Edition
The Washington Post
Anyone who comes away from an encounter with New York state-based movement artists Eiko and Koma does so with a strong visual image burned in the mind. So it is with this duo’s sepulchral, four-hour “Fragile,” a living gallery installation with choreographed soundscape....(size: 2.8Kb)
SFCMP reveals the visceral side of Xenakis
28 Feb 2012
The Examiner
Last night at Herbst Theatre, the San Francisco Contemporary Music Players (SFCMP) entered the third of Artistic Director Steven Schick’s Zones of Intensity, the zone “in which an inscription is erased but leaves a trace.” That description was an explicit reference to the...(size: 12.6Kb)
Thymos Quartet at Kennedy Center Terrace Theater
12 Mar 2012
The Washington Post
Maybe it wasn’t too surprising that the Terrace Theater was virtually empty Sunday night. The Kennedy Center had been presenting a chamber music “marathon” all afternoon, and by 8 o’clock the rich smorgasbord of Beethoven, Dvorak and Dohnanyi had clearly sated most...(size: 2.9Kb)
210px|thumb|Anton Webern in Stettin, October 1912Anton Webern (3 December 1883 – 15 September 1945) was an Austrian composer and conductor. He was a member of the Second Viennese School. As a student and significant follower of Arnold Schoenberg, he became one of the best-known exponents of the twelve-tone technique; in addition, his innovations regarding schematic organization of pitch, rhythm and dynamics were formative in the musical technique later known as total serialism.
Op. 1, ''Passacaglia'' for orchestra (1908)
Op. 2, ''Entflieht auf leichten Kähnen'' for a-cappella choir, on a poem by Stefan George (1908)
Op. 3, ''Fünf Lieder'' (Five Songs) for voice and piano, on ''Der Siebente Ring'' by Stefan George (1907–08)
Op. 4, ''Fünf Lieder'' for voice and piano, poems by Stefan George (1908–09)
Op. 5, ''Five Movements'' for string quartet (1909); version for string orchestra (1929)
Op. 6, ''Six Pieces'' for large orchestra (1909–10, revised 1928)
Op. 7, ''Four Pieces'' for violin and piano (1910)
Op. 8, ''Zwei Lieder'' (Two Songs) for voice and 8 instruments, on poems by Rainer Maria Rilke (1910)
Op. 9, ''Six Bagatelles'' for string quartet (1913)
Op. 10, ''Five Pieces'' for orchestra (1911–13)
Op. 11, ''Three Little Pieces'' for cello and piano (1914)
Op. 12, ''Vier Lieder'' (Four Songs) for voice and piano (1915–17)
Op. 13, ''Vier Lieder'' for voice and orchestra (1914–18)
Op. 14, ''Sechs Lieder'' (Six Songs) for voice, clarinet, bass clarinet, violin and cello on poems by Georg Trakl (1917–21)
Op. 15, ''Five Sacred Songs'' for voice and small ensemble (1917–22)
Op. 16, ''Five Canons'' for high soprano, clarinet and bass clarinet (1923–24)
Op. 17, ''Three Traditional Rhymes'' for voice, violin (doubling viola), clarinet and bass clarinet(1924)
Op. 18, ''Drei Lieder'' (Three Songs) for voice, E-flat clarinet and guitar (1925)
Op. 19, ''Zwei Lieder'', for mixed choir, celesta, guitar, violin, clarinet and bass clarinet, on poems by Johann Wolfgang Goethe (1926)
Op. 20, String Trio (1927)
Op. 21, Symphony (1928)
Op. 22, Quartet for violin, clarinet, tenor saxophone and piano (1930)
Op. 23, ''Drei Lieder'' for voice and piano, on Hildegard Jone's ''Viae inviae'' (1934)
Op. 24, Concerto for 9 instruments (1934)
Op. 25, ''Drei Lieder'' for voice and piano, on poems by Hildegard Jone (1934–35)
Op. 26, ''Das Augenlicht'' for mixed choir and orchestra, on a poem by Hildegard Jone (1935)
Op. 27, Variations for piano (1936)
Op. 28, String Quartet (1937–38)
Op. 29, Cantata No. 1 for soprano, mixed choir and orchestra, on a poem by Hildegard Jone (1938–39)
Op. 30, Variations for orchestra (1940)
Op. 31, Cantata No. 2 for soprano, bass, choir and orchestra, on a poem by Hildegard Jone (1941–43)
Two Pieces for cello and piano (1899)
''Three Poems'' for voice and piano (1899–1902)
''Eight Early Songs'' for voice and piano (1901–03)
''Three Songs'' after Ferdinand Avenarius (1903–04)
''Im Sommerwind'', idyl for large orchestra after a poem by Bruno Wille (1904)
''Langsamer Satz'' (Slow Movement) for string quartet (1905)
String Quartet (1905)
Piece for piano (1906)
Rondo for piano (1906)
Rondo for string quartet (1906)
''Five Songs'' after Richar Dehmel (1906–08)
Piano Quintet (1907)
''Four Songs'' after Stefan George (1908–09)
''Five Pieces for orchestra'' (1913) - related to op. 10, first pub. 1971, edited by Friedrich Cerha
''Three Songs'' for voice and orchestra (1913–14)
Cello Sonata (1914)
''Piece for children'' for piano (1924)
Piece for piano, in the tempo of a minuet (1925)
Piece for string trio (1925)
"Thränenregen", "Ihr Bild", ''Romance'' [from ''Rosamunde''], "Der Wegweiser", and "Du bist die Ruh’", by Franz Schubert, arranged for voice and orchestra (1903)
''Schatzwalzer'' by Johann Strauss II for string quartet, harmonium, and piano (1921)
Chamber Symphony No. 1, op. 9, by Arnold Schoenberg, arranged for flute (or violin), clarinet (or viola), piano, violin, and cello (1922–23)
''Arbeiterchor'' by Franz Liszt, arranged for bass solo, chorus, and orchestra (1924)
''Deutsche Tänze'' (German Dances) by Schubert (1824), orchestrated by Webern (1931)
''Fuga (Ricercata) a 6 voci'' [Fugue No. 2] from Johann Sebastian Bach's "Musical Offering", orchestrated (1934–35)
List of Austrians in music
List of Austrians
Bailey, Kathryn. 1991. ''The Twelve-Note Music of Anton Webern: Old Forms in a New Language''. Music in the Twentieth Century 2. Cambridge and New York: Cambridge University Press. ISBN 0521390885 (cloth) ISBN 0521547962 (pbk. ed., 2006)
Bailey, Kathryn (ed.). 1996. ''Webern Studies''. Cambridge and New York: Cambridge University Press. ISBN 0521475260
Bailey, Kathryn. 1998. ''The Life of Webern'' Cambridge and New York: Cambridge University Press. ISBN 052157336X (cloth) ISBN 0521575664 (pbk)
Ewen, David. 1971. "Anton Webern (1883–1945)," in ''Composers of Tomorrow's Music'', 66–77. New York: Dodd, Mead & Co. ISBN 0-396-06286-5
Forte, Allen. 1998. ''The Atonal Music of Anton Webern'' New Haven: Yale University Press. ISBN 0300073526
Galliari, Alain. 2007. "Anton von Webern". Paris: Fayard. ISBN 9782213634579
Hayes, Malcolm. 1995. ''Anton von Webern''. London: Phaidon Press. ISBN 0714831573
Leeuw, Ton de. 2005. ''Music of the Twentieth Century: A Study of Its Elements and Structure'', translated from the Dutch by Stephen Taylor. Amsterdam: Amsterdam University Press. ISBN 9053567658. Translation of ''Muziek van de twintigste eeuw: een onderzoek naar haar elementen en structuur''. Utrecht: Oosthoek, 1964. Third impression, Utrecht: Bohn, Scheltema & Holkema, 1977. ISBN 9031302449.
Moldenhauer, Hans. 1961. ''The Death of Anton Webern: A Drama in Documents'' New York: Philosophical Library. OCLC 512111
Moldenhauer, Hans. 1966. ''Anton von Webern Perspectives''. Edited by Demar Irvine, with an introductory interview with Igor Stravinsky. Seattle: University of Washington Press.
Moldenhauer, Hans, and Rosaleen Moldenhauer. 1978. ''Anton von Webern: A Chronicle of His Life and Work''. New York: Alfred A. Knopf. ISBN 0-394-47237-3 London: Gollancz. ISBN 0575024364
Noller, Joachim. 1990. "Bedeutungsstrukturen: zu Anton Weberns 'alpinen' Programmen." ''Neue Zeitschrift für Musik''151, no. 9 (September): 12–18.
Perle, George. 1991. ''Serial Composition and Atonality: an Introduction to the Music of Schoenberg, Berg and Webern''. Sixth ed. Berkeley and Los Angeles: University of California Press.
Stravinsky, Igor. 1959. "[Foreword]". ''Die Reihe'' 2 (2nd revised English edition): vii.
Webern, Anton. 1963. ''The Path to the New Music''. Edited by Willi Reich. [Translated by Leo Black.] Bryn Mawr, Pennsylvania: Theodore Presser Co., in Association with Universal Edition. Reprinted London: Universal Edition, 1975. (Translation of ''Wege zur neuen Musik''. Vienna: Universal Edition, 1960.)
Wildgans, Friedrich. 1966. ''Anton Webern''. Translated by Edith Temple Roberts and Humphrey Searle. Introduction and notes by Humphrey Searle. New York: October House.
Tsang, Lee (2002). "The Atonal Music of Anton Webern (1998) by Allen Forte". ''Music Analysis'', 21/iii (October), 417–427.
WebernUhrWerk - generative music generator by Karlheinz Essl, based on Anton Webern's last twelve-tone row, commemorating his sudden death on 15 September 1945. - Free download for Mac OS X and Windows XP.
Anton Webern biography and works on the UE website (publisher)
The Complete Works of Anton v. Webern compiled by Bill Hammel
Das Synthese-Denken bei Anton Webern dissertation by Karlheinz Essl with English abstract (1988)
www.antonwebern.com opus list, short biography, music and photo download
Webern's orchestration of Bach's ''Ricercar a 6'' - listening
Biography
Webern was born in Vienna, Austria, as Anton Friedrich Wilhelm von Webern. He was the only surviving son of Carl von Webern, a civil servant, and Amelie (née Geer) who was a competent pianist and accomplished singer — the only obvious source of the future composer's talent. He never used his middle names and dropped the von in 1918 as directed by the Austrian government's reforms after World War I. After spending much of his youth in Graz and Klagenfurt, Webern attended Vienna University from 1902. There he studied musicology with Guido Adler, writing his thesis on the ''Choralis Constantinus'' of Heinrich Isaac. This interest in early music would greatly influence his compositional technique in later years by employing palindromic form on both the micro- and macro-scale and the economical use of musical materials.He studied composition under Arnold Schoenberg, writing his ''Passacaglia, Op. 1'' as his graduation piece in 1908. He met Alban Berg, who was also a pupil of Schoenberg's, and these two relationships would be the most important in his life in shaping his own musical direction. After graduating, he took a series of conducting posts at theatres in Ischl, Teplitz, Danzig, Stettin, and Prague before moving back to Vienna. There he helped run Schoenberg's Society for Private Musical Performances from 1918 through 1922 and conducted the "Vienna Workers Symphony Orchestra" from 1922 to 1934.
Webern's music was denounced as "cultural Bolshevism" and "degenerate art" by the Nazi Party in Germany, even before the Austrian ''Anschluss'' of 1938. Although Webern had sharply attacked Nazi cultural policies in private lectures given in 1933, their intended publication did not take place at that time, which proved fortunate since this later "would have exposed Webern to serious consequences." As a result of official disapproval, he found it harder (though at no stage impossible) to earn a living, and had to take on work as an editor and proofreader for his publishers, Universal Edition.
It was thanks to the Swiss philanthropist Werner Reinhart that Webern was able to attend the festive premiere of his ''Variations for Orchestra'', Op. 30 in Winterthur, Switzerland in 1943. Reinhart invested all the financial and diplomatic means at his disposal to enable Webern to travel to Switzerland. In return for this support, Webern dedicated the work to him.
He left Vienna near the end of the war, and moved to Mittersill in Salzburg, believing he would be safer there. On 15 September 1945, during the Allied occupation of Austria, he was shot and killed by an American Army soldier following the arrest of his son-in-law for black market activities, when, despite the curfew in effect, he stepped outside the house to enjoy a cigar so as not to disturb his sleeping grandchildren. The soldier responsible, army cook Pfc. Raymond Norwood Bell, was overcome by remorse and died of alcoholism in 1955.
Webern was survived by his wife, Wilhelmine Mörtl, and their three daughters. His only son, Peter, died on 14 February 1945 of wounds suffered in a strafing attack on a military train two days earlier.
Webern's music
Webern was not a prolific composer; just thirty-one of his compositions were published in his lifetime, and when Pierre Boulez oversaw a project to record all of his compositions, including those without opus numbers, the results fit on just six CDs. However, his influence on later composers, and particularly on the post-war avant garde, was immense. His mature works, using Arnold Schoenberg's twelve-tone technique, have a textural clarity and emotional coolness which greatly influenced composers such as Pierre Boulez, Luigi Nono, and Karlheinz Stockhausen.
Like almost every composer who had a career of any length, Webern's music changed over time. However, it is typified by very spartan textures, in which every note can be clearly heard; carefully chosen timbres, often resulting in very detailed instructions to the performers and use of extended instrumental techniques (flutter tonguing, col legno, and so on); wide-ranging melodic lines, often with leaps greater than an octave; and brevity: the ''Six Bagatelles'' for string quartet (1913), for instance, last about three minutes in total.
Webern's earliest works are in a late Romantic style. They were neither published nor performed in his lifetime, though they are sometimes performed today. They include the orchestral tone poem ''Im Sommerwind'' (1904) and the ''Langsamer Satz'' (1905) for string quartet.
Webern's first piece after completing his studies with Schoenberg was the ''Passacaglia'' for orchestra (1908). Harmonically, it is a step forward into a more advanced language, and the orchestration is somewhat more distinctive than his earlier orchestral work. However, it bears little relation to the fully mature works he is best known for today. One element that is typical is the form itself: the passacaglia is a form which dates back to the 17th century, and a distinguishing feature of Webern's later work was to be the use of traditional compositional techniques (especially canons) and forms (the ''Symphony'', the ''Concerto'', the ''String Trio'' and ''String Quartet'', and the piano and orchestral ''Variations'') in a modern harmonic and melodic language.
For a number of years, Webern wrote pieces which were freely atonal, much in the style of Schoenberg's early atonal works. With the ''Drei Geistliche Volkslieder'' (1925) he used Schoenberg's twelve tone technique for the first time, and all his subsequent works used this technique. The ''String Trio'' (1927) was both the first purely instrumental work using the twelve tone technique (the other pieces were songs) and the first cast in a traditional musical form.
Webern's tone rows are often arranged to take advantage of internal symmetries; for example, a twelve-tone row may be divisible into four groups of three pitches which are variations, such as inversions and retrogrades, of each other, thus creating invariance. This gives Webern's work considerable motivic unity, although this is often obscured by the fragmentation of the melodic lines. This fragmentation occurs through octave displacement (using intervals greater than an octave) and by moving the line rapidly from instrument to instrument in a technique referred to as Klangfarbenmelodie.
Webern's last pieces seem to indicate another development in style. The two late ''Cantatas'', for example, use larger ensembles than earlier pieces, last longer (No. 1 around nine minutes; No. 2 around sixteen), and are texturally somewhat denser.
Recordings by Webern
Webern conducts "Berg - Violin Concerto" Webern conducts his arrangement of Schubert's German Dances
List of works
Works with opus numbers
The works with opus numbers are the ones that Webern saw fit to have published in his own lifetime, plus a few late works published after his death. They constitute the main body of his work, although several pieces of juvenilia and a few mature pieces that do not have opus numbers are occasionally performed today.
Works without opus numbers
Arrangements
See also
References
Bibliography
Further reading
Software
External links
Category:1883 births Category:1945 deaths Category:20th-century classical composers Category:Deaths by firearm in Austria Category:Expressionism Category:Modernist composers Category:Second Viennese school Category:University of Vienna alumni Category:Viennese composers
bg:Антон Веберн ca:Anton Webern cs:Anton Webern da:Anton Webern de:Anton Webern el:Άντον Βέμπερν es:Anton Webern eo:Anton Webern fa:آنتون وبرن fr:Anton Webern gl:Anton Webern ko:안톤 베베른 hr:Anton Webern it:Anton Webern he:אנטון וברן la:Antonius Webern lv:Antons Vēberns hu:Anton Webern nl:Anton Webern ja:アントン・ヴェーベルン no:Anton Webern pl:Anton Webern pt:Anton Webern ru:Веберн, Антон simple:Anton Webern sr:Антон Веберн sh:Anton Webern fi:Anton Webern sv:Anton Webern tr:Anton Webern uk:Антон Веберн vi:Anton Webern zh:安东·韦伯恩This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
| name | Glenn Gould |
|---|---|
| alt | Glenn Gould |
;Citations
;Bibliography
;Multimedia sources
Further reading
External links
Official website;Video
Category:1932 births Category:1982 deaths Category:Deaths from stroke Category:Glenn Gould Category:People from Toronto Category:The Royal Conservatory of Music alumni Category:Musicians from Toronto Category:Canadian Music Hall of Fame inductees Category:Canadian composers Category:Canadian classical pianists Category:Juno Award winners Category:Grammy Award winners Category:20th-century classical composers
bg:Глен Гулд ca:Glenn Gould cs:Glenn Gould da:Glenn Gould de:Glenn Gould el:Γκλεν Γκουλντ es:Glenn Gould eo:Glenn Gould fa:گلن گولد fr:Glenn Gould ko:글렌 굴드 id:Glenn Gould it:Glenn Gould he:גלן גולד ka:გლენ გულდი hu:Glenn Gould nl:Glenn Gould ja:グレン・グールド no:Glenn Gould pl:Glenn Gould pt:Glenn Gould ro:Glenn Gould ru:Гульд, Гленн sc:Glenn Gould sk:Glenn Gould fi:Glenn Gould sv:Glenn Gould uk:Гленн Гульд zh-yue:Glenn Gould zh:格连·古尔德This text is licensed under the Creative Commons CC-BY-SA License. This text was originally published on Wikipedia and was developed by the Wikipedia community.
10:20
Passacaglia, Op. 1 - Anton Webern
jonascamper
Passacaglia, Op. 1 - Anton Webern
Passacaglia for Orchestra, Op. 1 - Anton Webern The passacaglia is a work by Webern, wich was written in 1918. The record is by "Sony Music Classical" (all rights of the pruducer of the rocord work reserved), LONDON SYMPHONY ORCHE...
0:38
Anton Webern - Variations op. 27, no. 2 (1936)
bartje11
Anton Webern - Variations op. 27, no. 2 (1936)
Anton Webern (3 December 1883 - 15 September 1945) was an Austrian composer and conductor. He was a member of the Second Viennese School. As a student and significant follower of Arnold Schoenberg, he became one of the best-known exponents ...
4:23
Anton Webern - Six Bagatelles for String Quartet
pelodelperro
Anton Webern - Six Bagatelles for String Quartet
Six Bagatelles for String Quartet, op. 9 (1913) I. Mäβig II. Leicht bewegt III. Ziemlich flieβend IV. Sehr langsam V. Äuβerst langsam VI. Flieβend Juilliard String Quartet (Recorded in New York, February 27, 19...
5:41
Anton Webern - Im Sommerwind (2/2)
Epogdous
Anton Webern - Im Sommerwind (2/2)
Anton Webern (1883-1945) Im Sommerwind, idyll for orchestra (1904) Berli Philarmonic Orchestra Pierre Boulez Im Sommerwind, an "idyll" for large orchestra composed in 1904, is not the very first Anton Webern orchestral piece, as s...
6:25
Spooky Actions performing Anton Webern's Music
bruceedwardarnold
Spooky Actions performing Anton Webern's Music
brucearnold.com get more info This is the 2nd Movement from Anton Webern's5 Movements for String Quarte. Spooky Actions performed the 5 movements for String Quartet at the DOM in Moscow Russia in 2005. This performance is available on D...
6:01
Anton Webern - Five Pieces for Orchestra
pelodelperro
Anton Webern - Five Pieces for Orchestra
Five Pieces for orchestra, Op. 10 (1911-1913) I. Bewegt II. Langsam (sostenuto) III. Sehr bewegte Viertel IV. Langsame Viertel V. (Alla breve) Berliner Philharmoniker Pierre Boulez Anton Webern's Five Pieces for Orchestra, Op. 10 requir...
show more
add to playlist
clear
Video Suggestions
