Prime, retrograde, inverse, and retrograde-inverse permutations.

The Second Viennese School (German: Zweite Wiener Schule, Neue Wiener Schule) is the group of composers that comprised Arnold Schoenberg and his pupils and close associates in early 20th century Vienna, where he lived and taught, sporadically, between 1903 and 1925. Their music was initially characterized by late-Romantic expanded tonality and later, following Schoenberg's own evolution, a totally chromatic expressionism without firm tonal centre (often referred to as atonality) and later still, Schoenberg's serial twelve-tone technique. Though this common development took place, it neither followed a common time-line nor a cooperative path. Likewise, it was not a direct result of Schoenberg's teaching — which (as his various published textbooks demonstrate) was highly traditional and conservative. Schoenberg's textbooks also reveal that the Second Viennese School spawned not from the development of his serial method, but rather from the influence of his creative example.

Members[link]

The principal members of the school, besides Schoenberg, were Alban Berg and Anton Webern, who were among his first composition pupils. Both of them had already produced copious and talented music in a late Romantic idiom but felt they gained new direction and discipline from Schoenberg's teaching. Other pupils of this generation included Heinrich Jalowetz, Erwin Stein and Egon Wellesz, and somewhat later Eduard Steuermann, Hanns Eisler, Rudolf Kolisch, Paul A. Pisk, Karl Rankl, Josef Rufer and Viktor Ullmann. Though Berg and Webern both followed Schoenberg into total chromaticism and both adopted twelve-tone technique soon after he did, each in his own way, not all of these other pupils did so, or waited for a considerable time before following suit. Schoenberg's brother-in-law Alexander Zemlinsky is sometimes included as part of the Second Viennese School, though he was never Schoenberg's pupil and never renounced a traditional conception of tonality. Several yet later pupils, such as Winfried Zillig, the Catalan Roberto Gerhard, the Transylvanian Norbert von Hannenheim and the Greek Nikos Skalkottas, are sometimes covered by the term, though (apart from Gerhard) they never studied in Vienna but as part of Schoenberg's masterclass in Berlin. Membership in the school is not generally extended to Schoenberg's many pupils in the United States from 1933, such as John Cage, Leon Kirchner and Gerald Strang, nor to many other composers who, at a greater remove, wrote compositions evocative of the Second Viennese style, such as the Canadian pianist Glenn Gould. By extension, however, certain pupils of Schoenberg's pupils (such as Berg's pupil Hans Erich Apostel and Webern's pupils René Leibowitz, Leopold Spinner and Ludwig Zenk) are usually included in the roll-call.

Practices[link]

Though the school included highly distinct musical personalities (the styles of Berg and Webern are in fact very different from each other, and from Schoenberg — for example, only the works of Webern conform to the rule stated by Schoenberg that only a single row be used throughout all movements of a composition^[1] — while Gerhard and Skalkottas were closely involved with the folk music of their respective countries) the impression of cohesiveness was enhanced by the literary efforts of some of its members. Wellesz wrote the first book on Schoenberg, who was also the subject of several Festschriften put together by his friends and pupils; Rufer and Spinner both wrote books on the technique of twelve-tone composition; and Leibowitz's influential study of Schoenberg, Berg and Webern, Schoenberg et son école, helped to establish the image of a school in the period immediately after World War II in France and abroad. Several of those mentioned (e.g. Jalowetz, Rufer) were also influential as teachers, and others (e.g. Kolisch, Rankl, Stein, Steuermann, Zillig) as performers, in disseminating the ideals, ideas and approved repertoire of the group. Perhaps the culmination of the school took place at Darmstadt almost immediately after WWII, at the Internationale Ferienkurse für Neue Musik, wherein Schoenberg — who was invited but too ill to travel — was ultimately usurped in musical ideology by the music of his pupil, Webern, as composers and performers from the Second Viennese School (e.g. Leibowitz, Rufer, Adorno, Kolisch, Stadlen, Stuckenschmidt, Scherchen) converged with the new serialists (e.g. Boulez, Stockhausen, Maderna, Nono, et al.).

First Viennese School[link]

German musical literature refers to the grouping as the "Wiener Schule" or "Neue Wiener Schule". The existence of a "First Viennese School" is debatable. The term is often assumed to connote the great Vienna-based masters of the Classical style working in the late 18th and early 19th century, particularly Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven and Franz Schubert. Though Mozart and Schubert did not study with Haydn, Mozart and Haydn were fans of each other's work and evidence suggests that the two composers fed off the other's compositional craftsmanship. Beethoven, however, did for a time receive lessons from the older master, though he was not a pupil in the sense that Berg and Webern were pupils of Schoenberg.

Third Viennese School[link]

The term "Third Viennese School" is occasionally used to refer to the composers surrounding the Viennese new music ensemble Klangforum Wien, including its founder Beat Furrer and other late modernists such as Helmut Lachenmann, Olga Neuwirth and Bernhard Lang. [1][2][3]

See also[link]

• Skandalkonzert

Sources[link]

Further reading[link]

• René Leibowitz, Schoenberg et son école (Paris, Editeur J B Janin, 1947) translated by Dika Newlin as Schoenberg and His School: The Contemporary Stage of the Language of Music (New York, Philosophical Library, 1949)

External links[link]

• Arnold Schoenberg Center in Vienna

Vienna School may refer to:

• First Viennese School, 18th century classical music composers in Vienna
• Second Viennese School, 20th century composers in Vienna
• Vienna School of Art History (19th and 20th centuries)
• Austrian School of economics, sometimes called the "Vienna School"

See also[link]

• Vienna Circle, 20th century Viennese philosophers, whose influences are known as the Vienna School

This disambiguation page lists articles about schools, colleges, or other educational institutions which are associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Glenn Gould

Glenn Herbert Gould^{[fn 1][fn 2]} (September 25, 1932 – October 4, 1982) was a Canadian pianist who became one of the best-known and most celebrated classical pianists of the 20th century. He was particularly renowned as an interpreter of the keyboard music of Johann Sebastian Bach. His playing was distinguished by remarkable technical proficiency and capacity to articulate the polyphonic texture of Bach’s music.

Gould rejected most of the standard Romantic piano literature and, after his adolescence, avoided Liszt, Schumann, and Chopin. Although his recordings were dominated by Bach, Gould's oeuvre was diverse, including works by Beethoven, Mozart, Haydn, Brahms, pre-Baroque composers such as Jan Sweelinck, and such 20th-century composers as Paul Hindemith and Arnold Schoenberg. Gould was well known for various eccentricities, from his unorthodox musical interpretations and mannerisms at the keyboard to aspects of his lifestyle and personal behavior. He stopped giving concerts at the age of 31 to concentrate on studio recording and other projects.

Gould was also known as a writer, composer, conductor, and broadcaster. He was a prolific contributor to musical journals, in which he discussed music theory and outlined his musical philosophy. His career as a composer was less distinguished. His output was minimal and many projects were left unfinished. There is evidence that, had he lived beyond 50, he intended to abandon the piano and devote the remainder of his career to conducting and other projects. As a broadcaster, Gould was prolific. His output ranged from television and radio broadcasts of studio performances to musique concrète radio documentaries about life in the Canadian wilderness.

Life[link]

Early life[link]

Glenn Herbert Gould was born at home in Toronto on September 25, 1932, to Russell Herbert ("Bert") Gold and Florence ("Flora") Emma Gold (née Grieg),^[1] Presbyterians of Scottish and English ancestry.^[2] His maternal grandfather was a cousin of Norwegian composer Edvard Grieg.^[3][4] The family's surname was changed to Gould informally around 1939 in order to avoid being mistaken for Jewish, given the prevailing anti-Semitism of prewar Toronto and the Gold surname's Jewish association.^{[fn 3]} Gould had no Jewish ancestry,^{[fn 4]} though he sometimes made jokes on the subject, like "When people ask me if I'm Jewish, I always tell them that I was Jewish during the war."^[5] Gould grew up in a home at 32 Southwood Drive, Toronto. His childhood home has been named a historic site by the City of Toronto.^[6]

Gould in February 1946 with his parakeet, Mozart, and his English Setter, Nick(y).^[7][8]

Gould's interest in music and his talent as a pianist became evident very early. Both his parents were musical, and his mother, especially, encouraged the infant Gould's early musical development. Before his birth, his mother planned for him to become a successful musician, and thus exposed him to music during her pregnancy.^[9] As a baby, he reportedly hummed instead of crying and wiggled his fingers as if playing chords, leading his doctor to predict that he would "be either a physician or a pianist".^[10] By the age of three, Gould's perfect pitch was noticed. He learned to read music before he could read words.^[3][11][12] When presented with a piano, the young Gould was reported to strike single notes and listen to their long decay, a practice his father Bert noted was different from typical children.^[11] Gould's interest in the piano proceeded side by side with an interest in composition. He would play his own little pieces for family, friends, and sometimes large gatherings, including, in 1938, a performance at the Emmanuel Presbyterian Church (a few blocks from the Gould house) of one of his own compositions.^[13] At the age of six, he was taken for the first time to hear a live musical performance by a celebrated soloist. This left a tremendous impression. He later described the experience:

It was Hofmann. It was, I think, his last performance in Toronto, and it was a staggering impression. The only thing I can really remember is that, when I was being brought home in a car, I was in that wonderful state of half-awakeness in which you hear all sorts of incredible sounds going through your mind. They were all orchestral sounds, but I was playing them all, and suddenly I was Hofmann. I was enchanted.^[3][14]

Glenn Gould with his teacher, Alberto Guerrero, demonstrating Guerrero's technical idea that Gould should pull down at keys instead of striking them from above. The photo was taken in 1945 before Gould fully developed this technique.

As a young child, Gould was taught piano by his mother. At the age of 10, he began attending The Royal Conservatory of Music in Toronto. He studied music theory with Leo Smith, the organ with Frederick C. Silvester, and piano with Alberto Guerrero.^[15] Around the same time, he injured his back as a result of a fall from a boat ramp on the shore of Lake Simcoe.^{[fn 5]} This incident is almost certainly related to the adjustable-height chair his father made shortly thereafter. Gould's mother would urge the young Gould to sit up straight at the keyboard.^[16] He used this chair for the rest of his life and took it with him almost everywhere.^[3] This famous chair was designed so that Gould could sit very low at the keyboard. The chair allowed him to pull down on the keys rather than striking them from above, a central technical idea of his teacher at the Conservatory, Alberto Guerrero.^[17]

Gould developed a technique that enabled him to choose a very fast tempo while retaining the separateness and clarity of each note.^[18] His extremely low position at the instrument arguably permitted more control over the keyboard. Gould showed considerable technical skill in performing and recording a wide repertoire including virtuosic and romantic works, such as his own arrangement of Ravel's La valse and Liszt's transcriptions of Beethoven's fifth and sixth symphonies. Gould worked from a young age with his teacher Alberto Guerrero on a technique known as finger-tapping: a method of training the fingers to act more independently from the arm.^[19]

Gould passed his final Conservatory examination in piano at the age of 12 (achieving the "highest marks of any candidate"), thus attaining "professional standing as a pianist" at that age.^[20] One year later he passed the written theory exams, qualifying for an ATCM diploma.^{[fn 6][20]}

Gould the pianist[link]

Gould claimed he almost never practiced on the piano, preferring to study music by reading it rather than playing it,^{[fn 7]} another technique he had learned from Guerrero. His manual practicing focused on articulation, rather than basic facility. He may have spoken ironically about his practicing, but there is evidence that on occasion, he did practice quite hard, sometimes using his own drills and techniques.^{[fn 8]}

He stated that he didn't understand the requirement of other pianists to continuously reinforce their relationship with the instrument by practicing many hours a day.^[21] It seems that Gould was able to practice mentally without access to an instrument, and even took this so far as to prepare for a recording of Brahms piano works without ever playing them until a few weeks before the recording sessions. This is all the more staggering considering the absolute accuracy and phenomenal dexterity exhibited in his playing. Gould's large repertoire also demonstrated this natural mnemonic gift.

The piano, Gould said, "is not an instrument for which I have any great love as such... [but] I have played it all my life, and it is the best vehicle I have to express my ideas." In the case of Bach, Gould admitted, "[I] fixed the action in some of the instruments I play on—and the piano I use for all recordings is now so fixed—so that it is a shallower and more responsive action than the standard. It tends to have a mechanism which is rather like an automobile without power steering: you are in control and not it; it doesn't drive you, you drive it. This is the secret of doing Bach on the piano at all. You must have that immediacy of response, that control over fine definitions of things."^[22]

Of significant influence upon the teenage Gould were Artur Schnabel,^{[fn 9]} Rosalyn Tureck's recordings of Bach ("upright, with a sense of repose and positiveness"), and Leopold Stokowski.^[23]

Gould was known for having a vivid imagination. Listeners regarded his interpretations as ranging from brilliantly creative to outright eccentric.^[18] His piano playing had great clarity and erudition, particularly in contrapuntal passages,^[18] and extraordinary control. He was a child prodigy^[24] and in adulthood described as a musical phenomenon.^{[fn 10]} As he played, he often swayed his torso in a clockwise motion.

Gould had a pronounced aversion to what he termed a "hedonistic" approach to the piano repertoire, performance, and music generally. For Gould, "hedonism" in this sense denoted a superficial theatricality, something to which he felt Mozart, for example, became increasingly susceptible later in his career.^[25] He associated this drift towards hedonism with the emergence of a cult of showmanship and gratuitous virtuosity on the concert platform in the 19th century and later. The institution of the public concert, he felt, degenerated into the "blood sport" with which he struggled, and which he ultimately rejected.^[26]

Performances[link]

In 1945, he gave his first public performance, playing the organ,^[27] and the following year he made his first appearance with an orchestra, the Toronto Symphony Orchestra, in a performance of the first movement of Beethoven's 4th Piano Concerto.^[28] His first solo recital followed in 1947,^[29] and his first recital on radio was with the CBC in 1950.^[30] This was the beginning of his long association with radio and recording. He founded the Festival Trio chamber group in 1953 with the cellist Isaac Mamott and the violinist Albert Pratz.

In 1957, Gould embarked on a tour of the Soviet Union, becoming the first North American to play there since World War II.^[31] His concerts featured Bach, Beethoven, and the serial music of Schoenberg and Berg, which had been suppressed in the Soviet Union during the era of Socialist Realism. Gould made his Boston debut in 1958, playing for the Peabody Mason Concert Series.^[32]

Gould was convinced that the institution of the public concert was not only an anachronism, but also a "force of evil", leading to his retirement from concert performance. He argued that public performance devolved into a sort of competition, with a non-empathetic audience (musically and otherwise) mostly attendant to the possibility of the performer erring or not meeting critical expectation. This doctrine he set forth, only half in jest, in "GPAADAK", the Gould Plan for the Abolition of Applause and Demonstrations of All Kinds.^[33]

On April 10, 1964, Gould gave his last public performance, playing in Los Angeles, at the Wilshire Ebell Theater.^[34] Among the pieces he performed that night were Beethoven's Piano Sonata No. 30, selections from Bach's The Art of Fugue, and Paul Hindemith's Piano Sonata No. 3.^{[fn 11]} Gould performed fewer than 200 concerts over the course of his career, of which fewer than 40 were overseas. For pianists such as Van Cliburn, 200 concerts would have amounted to about two years' touring.^[35]

One of Gould's reasons for abandoning live performance was his aesthetic preference for the recording studio, where, in his words, he developed a "love affair with the microphone".^{[fn 12]} There, he could control every aspect of the final musical "product" by selecting parts of various takes. He felt that he could realize a musical score more fully this way. Thus, the act of musical composition, to Gould, did not entirely end with the original score. The performer had to make creative choices. Gould felt strongly that there was little point in re-recording centuries-old pieces if the performer had no new perspective to bring to the work. For the rest of his life, Gould eschewed live performance, focusing instead on recording, writing, and broadcasting.

Technology[link]

The issue of "authenticity" in relation to an approach like Gould's has been a topic of great debate, although diminished by the end of the 20th century—a development that Gould seems to have anticipated. It asks whether a recording is less authentic or "direct" for having been highly refined by technical means in the studio. Gould likened his process to that of a film director—one does not perceive that a two-hour film was made in two hours—and implicitly asks why the act of listening to music should be any different. He went so far as to conduct an "experiment" with musicians, sound engineers, and laypeople in which they were to listen to a recording and determine where the splices occurred. Each group chose different points based on their relationship to music, but none successfully. While the conclusion was hardly scientific, Gould remarked, "The tape does lie, and nearly always gets away with it".^[36]

In a lecture and essay titled "Forgery and Imitation in the Creative Process", one of Gould's most significant texts,^[37] he makes explicit his views on authenticity and creativity. Gould asks why the epoch in which a work is received influences its reception as "art", postulating a sonata he composes that sounds so much like Haydn that it is received as such. If, instead, the same sonata had been attributed to a somewhat earlier or later composer, it becomes more or less interesting as a piece of music. Yet it is not the work that has changed but its relation within the accepted narrative of music history. Similarly, Gould notes the "pathetic duplicity" in the reception of high-quality forgeries by Hans van Meegeren of new paintings attributed to Dutch Golden Age master Vermeer, before and after the forgery was known.

Gould, therefore, prefers an ahistorical, or at least pre-Renaissance, view of art, minimizing the identity of the artist and the attendant historical context in evaluating the artwork: "What gives us the right to assume that in the work of art we must receive a direct communication with the historical attitudes of another period? ... moreover, what makes us assume that the situation of the man who wrote it accurately or faithfully reflects the situation of his time? ... What if the composer, as historian, is faulty?"^[38]

Writings[link]

Gould said that if he had not been a musician, he would have been a writer. He expounded his criticism and philosophy of music and art in lectures, convocation speeches, periodicals, and radio and television documentaries for the Canadian Broadcasting Corporation. Gould participated in many interviews, and had a predilection for scripting them to the extent that they may be seen as much as "works" as off-the-cuff discussions. His writing style was highly articulate but sometimes florid, indulgent, or rhetorical. This is especially evident in those works in which he attempts humour or irony, which he did often.^{[fn 13]}

In these he praised certain composers and rejected what he deemed banal in music composition and its consumption by the public, and also gave insightful analyses of the music of Richard Strauss, Alban Berg and Anton Webern. Despite a certain affection for Dixieland jazz, Gould was mostly averse to popular music. He enjoyed a jazz concert with his friends as a youth, mentioned jazz in his writings, and once criticized The Beatles for "bad voice leading"^{[fn 14]}—while praising Petula Clark and Barbra Streisand. He shared a mutual admiration with jazz pianist Bill Evans, who made his seminal record Conversations with Myself using Gould's celebrated Steinway CD 318 piano. Gould believed that "the piano is a contrapuntal instrument," and his whole approach to music was, in fact, centered in the Baroque. Much of the homophony that followed he felt belongs to a less serious and less spiritual period of art.

"The Last Puritan"[link]

A 1962 quote is often used to summarize Gould's perspective on art: "The justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of a momentary ejection of adrenaline but is, rather, the gradual, lifelong construction of a state of wonder and serenity."^[39]

Gould referred to himself repeatedly as "the last puritan", a reference to philosopher George Santayana's novel of the same name. Weighing this statement against Gould's highly individualistic lifestyle and artistic vision leads to an apparent contradiction. He was progressive in many ways, promulgating the controversial atonal composers, and anticipating, through his deep involvement with the recording process, the vast changes that technology would have on the production and distribution of music. Mark Kingwell summarizes the paradox, never resolved by Gould nor his biographers:

He was progressive and anti-progressive at once, and likewise at once both a critic of the Zeitgeist and its most interesting expression. He was, in effect, stranded on a beachhead of his own thinking between past and future. That he was not able, by himself, to fashion a bridge between them is neither surprising, nor, in the end, disappointing. We should see this failure, rather, as an aspect of his genius. He both was and was not a man of his time.^[40]

Eccentricities[link]

Gould was widely known for his unusual habits. He usually hummed while he played the piano, and his recording engineers had mixed results in how successfully they were able to exclude his voice from recordings. Gould claimed that his singing was subconscious and increased proportionately with the inability of the piano in question to realize the music as he intended. It is likely that this habit originated in Gould's having been taught by his mother to "sing everything that he played", as Kevin Bazzana puts it. This became "an unbreakable (and notorious) habit".^[41] Some of Gould's recordings were severely criticised because of the background "vocalise". For example, a reviewer of his 1981 re-recording of the Goldberg Variations opined that many listeners would "find the groans and croons intolerable".^[42] Gould was renowned for his peculiar body movements while playing and for his insistence on absolute control over every aspect of his playing environment. The temperature of the recording studio had to be exactly regulated. He invariably insisted that it be extremely warm. According to Friedrich, the air conditioning engineer had to work just as hard as the recording engineers.^[43] The piano had to be set at a certain height and would be raised on wooden blocks if necessary.^[44] A small rug would sometimes be required for his feet underneath the piano.^[45] He had to sit fourteen inches above the floor and would play concerts only while sitting on the old chair his father had made. He continued to use this chair even when the seat was completely worn through.^[46] His chair is so closely identified with him that it is shown in a place of honour in a glass case at the National Library of Canada.

A replica of Glenn Gould's chair.

Conductors responded diversely to Gould and his playing habits. George Szell, who led Gould in 1957 with the Cleveland Orchestra, remarked to his assistant, "That nut's a genius."^[47] Leonard Bernstein said, "There is nobody quite like him, and I just love playing with him."^[47] Ironically, Bernstein created a stir at the April 6, 1962 concert when, just before the New York Philharmonic was to perform the Brahms Piano Concerto No. 1 in D minor with Gould as soloist, he informed the audience that he was assuming no responsibility for what they were about to hear. He asked the audience: "In a concerto, who is the boss – the soloist or the conductor? (audience laughter). The answer is, of course, sometimes the one and sometimes the other, depending on the people involved."^[48] Specifically, he was referring to their rehearsals with Gould's insistence that the entire first movement be played at half the indicated tempo. The speech was interpreted by Harold C. Schonberg, music critic for The New York Times, as an abdication of responsibility and an attack on Gould.^[49] Plans for a studio recording of the performance came to nothing. The live radio broadcast (along with Bernstein's disclaimer) was subsequently released on CD.

Gould was averse to cold, and wore heavy clothing (including gloves), even in warm places. He was once arrested, presumably mistaken for a vagrant, while sitting on a park bench in Sarasota, Florida, dressed in his standard all-climate attire of coat(s), warm hat, and mittens.^[50] He also disliked social functions. He hated being touched, and in later life he limited personal contact, relying on the telephone and letters for communication. On one visit to Steinway Hall in New York City in 1959, the chief piano technician at the time, William Hupfer, greeted Gould by giving him a slap on the back. Gould was shocked by this, and complained of aching, lack of coordination, and fatigue because of the incident. He went on to explore the possibility of litigation against Steinway & Sons if his apparent injuries were permanent.^[51] He was known for cancelling performances at the last minute, which is why Bernstein's above-mentioned public disclaimer opens with, "Don't be frightened, Mr. Gould is here... will appear in a moment."

In his liner notes and broadcasts, Gould created more than two dozen alter egos for satirical, humorous, or didactic purposes, permitting him to write hostile reviews or incomprehensible commentaries on his own performances. Probably the best-known are the German musicologist "Karlheinz Klopweisser", the English conductor "Sir Nigel Twitt-Thornwaite", and the American critic "Theodore Slutz".^[52] These facets of Gould, whether interpreted as neurosis or "play",^[53] have provided ample material for psychobiography.

Fran's Restaurant in Toronto was a regular haunt of Gould's. A CBC profile noted, "sometime between two and three every morning, Gould would go to Fran's, a 24-hour diner a block away from his Toronto apartment, sit in the same booth, and order the same meal of scrambled eggs."^[54]

It has been debated whether or not Gould was autistic, or, more accurately, if his mind fell within the autism spectrum.^[6] The diagnosis was first suggested by psychiatrist Peter Ostwald, a friend of Gould's, in the 1997 book, Glenn Gould: The Ecstasy and Tragedy of Genius.^[55] It has been disputed by, among others, Kevin Bazzana.^{[citation needed]}

Relationships[link]

Gould lived a private life: Bruno Monsaingeon said of him, "No supreme pianist has ever given of his heart and mind so overwhelmingly while showing himself so sparingly."^[56]

When Gould was in Los Angeles in 1956, he met Cornelia Foss and husband Lukas. Foss was an art instructor who had studied sculpture at the American Academy in Rome. Her husband worked for both the Buffalo Philharmonic Orchestra and the Brooklyn Philharmonic. After several years, Gould and Foss became lovers.^[57] Foss left her husband in 1967 for Gould, taking her two children with her to Toronto. She purchased a house near Gould's 110 St. Clair Avenue West apartment. In 2007, Cornelia Foss finally admitted that she and Gould had had a love affair lasting several years.^[57] According to Foss, "There were a lot of misconceptions about Glenn, and it was partly because he was so very private. But I assure you, he was an extremely heterosexual man. Our relationship was, among other things, quite sexual." Their affair lasted until 1972, when she returned to her husband. As early as two weeks after leaving her husband, Foss noticed disturbing signs in Gould. She describes a serious paranoid episode:

"It lasted several hours, and then I knew he was not just neurotic – there was more to it. I thought to myself, 'Good grief, am I going to bring up my children in this environment?' But I stayed four and a half years." Foss did not discuss details, but others close to Gould said he was convinced someone was trying to poison him and that others were spying on him.^[57]

Health[link]

Gould suffered many pains and ailments, though he was something of a hypochondriac^{[58][fn 15]} (admitting it himself on at least one occasion), and his autopsy revealed few underlying problems in areas that often troubled him.^{[fn 16]} Early in his life, Gould suffered a spine injury. His physicians prescribed, usually independently, an assortment of analgesics, anxiolytics, and other drugs. Some speculate that his extensive use of prescription medications throughout his career had a deleterious effect on his health.

He was highly concerned about his health throughout his life, worrying about everything from high blood pressure (which in his later years he recorded in diary form) to the safety of his hands. Gould rarely shook hands with anyone and usually wore gloves.^{[fn 17][fn 18]}

Death[link]

On September 27, 1982, after experiencing a severe headache, Gould suffered a stroke that paralyzed the left side of his body. He was admitted to Toronto General Hospital and his condition rapidly deteriorated. By October 4, there was evidence of brain damage, and Gould's father decided that his son should be taken off life support.^[59] He is buried next to his parents in Toronto's Mount Pleasant Cemetery (section 38, Row 1088, Plot 1050). The first few measures of the Goldberg Variations are carved on his marker. According to the Glenn Gould Foundation, the cemetery staff often handle requests to locate his gravesite.^[60]

Recordings[link]

Studio[link]

Prelude and Fugue in C major from The Well-Tempered Clavier, Book 1 by Johann Sebastian Bach (excerpt) noicon The C major prelude from the first book of the WTC. Allegro Moderato from Piano Sonata No. 10 in C major by Wolfgang Ama- deus Mozart (excerpts from two recordings) noicon Compare the 1970 version from the "Complete Piano Sonatas" set (played first) and the 1958 interpretation (second). Contrapunctus V from The Art of Fugue by Johann Sebastian Bach (excerpt) noicon The only organ recordings Gould made were the first nine parts of Bach's The Art of Fugue. Gigue from Suite in A major HWV 426, by Georg Friederich Handel (excerpt) noicon Gould recorded several Handel suites and a few pieces from J.S. Bach's WTC on a Wittmayer harpsichord. The somewhat muffled sound of this 20th-century instrument is very different from modern recordings that are made using copies of old harpsichords.

Problems listening to these files? See media help.

In creating music, Gould much preferred the control and intimacy provided by the recording studio. He disliked the concert hall, which he compared to a competitive sporting arena. After his final public performance in 1964, he devoted his career solely to the studio, recording albums and several radio documentaries. He was attracted to the technical aspects of recording, and considered the manipulation of tape to be another part of the creative process. Although Gould's recording studio producers have testified that 'he needed splicing, less than most performers',^[61] Gould used the process to give him total artistic control over the recording process. He recounted his recording of the A minor fugue from Book I of The Well-Tempered Clavier and how it was spliced together from two takes, with the fugue's expositions from one take and its episodes from another.^[62]

Following his first recording (of Berg's Piano sonata, Op. 1, on the Canadian Hallmark label, c. 1952), the pianist's first breakthrough success, Bach: The Goldberg Variations, was recorded in 1955, at Columbia Records 30th Street Studios in New York City. Although there was initially some controversy at CBS as to whether this was the most appropriate piece to record, the finished product received phenomenal praise and was among the best-selling classical music albums of its time.^[63] Gould became closely associated with the piece, playing it in full or in part at many of his recitals. Another version of the Goldberg Variations, recorded in 1981, would be among his last recordings, and one of only a few pieces he recorded twice in the studio. The 1981 recording was one of CBS Masterworks' first digital recordings. The first recording is highly energetic and often frenetic. The second, slower and more deliberate.^[64][65] In the latter, Gould treats the aria and its 30 variations as one cohesive piece.^{[fn 19]}

Gould revered Bach: "[he was] first and last an architect, a constructor of sound, and what makes him so inestimably valuable to us is that he was beyond a doubt the greatest architect of sound who ever lived".^[66] He recorded most of Bach's other keyboard works, including the complete The Well-Tempered Clavier, Partitas, French Suites, English Suites, and keyboard concertos. For his only recording at the organ, he recorded about half of The Art of Fugue. He also recorded all five of Beethoven's piano concertos and 23 of the 32 piano sonatas.

Gould also recorded works by Brahms, Mozart, and many other prominent piano composers, though he was outspoken in his criticism of some of them. He was extremely critical of Frédéric Chopin. In a radio interview, when asked if he didn't find himself wanting to play Chopin, he replied: "No, I don't. I play it in a weak moment – maybe once a year or twice a year for myself. But it doesn't convince me." Although Gould recorded all of Mozart's sonatas and admitted enjoying the "actual playing" of them,^[67] he claimed to dislike Mozart's later works, to the extent of arguing (perhaps facetiously) that Mozart died too late rather than too early.^[68] He was fond of many lesser-known composers, such as Orlando Gibbons, whose Anthems he had heard as a teenager,^[69] and for whose music he felt a "spiritual attachment".^[70] He recorded a number of Gibbons's keyboard works and called him his favourite composer,^[71][72] despite his better-known admiration for the technical mastery of Bach.^{[fn 20]} He made recordings of piano music by Jean Sibelius (the Sonatines and Kyllikki), Georges Bizet (the Variations Chromatiques de Concert and the Premier nocturne), Richard Strauss (the Piano Sonata, the Five Pieces, and Enoch Arden with Claude Rains), and Paul Hindemith (the three piano sonatas and the sonatas for brass and piano). He also made recordings of the complete piano works Lieder by Arnold Schoenberg. The last thing Gould recorded as a session musician was Strauss: Piano Sonata, Op. 5. It was recorded between September 1 – 3, 1982^[73] in New York City.

Collaborations[link]

The success of Gould's collaborations with other artists was to a degree dependent upon their receptiveness to his sometimes unconventional readings of the music. His television collaboration with Yehudi Menuhin in 1965, recording works by Bach, Beethoven and Schoenberg,Stegemann (1993b) was deemed a success because "... Menuhin was ready to embrace the new perspectives opened up by an unorthodox view ...".^[74] In 1966, his collaboration with Elisabeth Schwarzkopf, however, recording Richard Strauss's Ophelia Lieder, Op. 67, was deemed an "outright fiasco".^[74] Schwarzkopf believed in "total fidelity" to the score, but she also objected to the thermal conditions in the recording studio: "The studio was incredibly overheated, which may be good for a pianist but not for a singer: a dry throat is the end as far as singing is concerned. But we persevered nonetheless. It wasn't easy for me. Gould began by improvising something Straussian—we thought he was simply warming up, but no, he continued to play like that throughout the actual recordings, as though Strauss's notes were just a pretext that allowed him to improvise freely...."^[75]

Radio documentaries[link]

As the result of Gould's association with CBC Records, he made numerous television and radio programs for CBC Television and CBC Radio. Notable productions include his music-concrète Solitude Trilogy, which consists of The Idea of North, a meditation on Northern Canada and its people, The Latecomers about Newfoundland, and The Quiet in the Land, about Mennonites in Manitoba. All three use a radiophonic electronic-music technique that Gould called contrapuntal radio, in which several people are heard speaking at once—much like the voices in a fugue—manipulated through the use of tape. Gould's experience of driving across northern Ontario while listening to Top 40 radio in 1967 provided the inspiration for one of his most unusual CBC radio pieces, The Search for Petula Clark, a witty and eloquent dissertation on the recordings of the renowned British pop singer, who was then at the peak of her international success^[76]

Arrangements and compositions[link]

Gould was not only a composer, but also a prolific arranger of orchestral repertoire for piano. His arrangements include his recorded Wagner and Ravel transcriptions, as well as the operas of Richard Strauss and the symphonies of Schubert and Bruckner,^[3] which he played privately for pleasure.^{[fn 21]}

As a teenager, Gould wrote chamber music and piano works in the style of the Second Viennese school of composition. His only significant work was the String Quartet, Op. 1, which he finished when he was in his 20s, and perhaps his cadenzas to Beethoven's Piano Concerto No. 1. Later works include the Lieberson Madrigal (SATB and piano), and So You Want to Write a Fugue? (SATB with piano or string quartet accompaniment). The majority of his work is published by Schott Music. The recording Glenn Gould: The Composer contains his original works.

The String Quartet Op. 1 (published in 1956 and recorded in 1960) had a mixed reception from critics. For example, the notices from the Christian Science Monitor and The Saturday Review were quite laudatory, while the response from the Montreal Star was less so.^[77] There is little critical commentary on Gould's compositional work for the simple reason that there are few compositions. He did not proceed beyond Opus 1. Gould left many compositions unfinished.^[78] He attributed his failure as a composer to his lack of a "personal voice".^[79] See List of compositions by Glenn Gould for a complete list of works.

Conducting[link]

Towards the end of his life, Gould began conducting. He had earlier directed Bach's Brandenburg Concerto No. 5 and the cantata Widerstehe doch der Sünde from the harpsipiano (a piano with metal hammers to simulate a harpsichord's sound), and Gustav Mahler's Symphony No. 2 (the Urlicht section) in the 1960s. His last recording was as a conductor of Wagner's Siegfried Idyll in its original chamber music scoring. He intended to give up the piano at the age of 50, spending later years conducting, writing about music, and composing.^[80]

Legacy and honours[link]

Park Bench Sculpture of Gould located outside the Canadian Broadcasting Centre

Gould is one of the most acclaimed 20th-century classical musicians. His unique pianistic method, insight into the architecture of compositions, and relatively free interpretation of scores created performances and recordings that were revelatory to many listeners while highly objectionable to others. Philosopher Mark Kingwell writes that "his influence is made inescapable. No performer after him can avoid the example he sets... Now, everyone must perform through him: he can be emulated or rejected, but he cannot be ignored."^[81]

Gould left an extensive body of work beyond the keyboard. After his retirement from concert performance, he was increasingly interested in other media, including audio and film documentary and writing, through which he mused on aesthetics, composition, music history, and the effect of the electronic age on the consumption of media. (Gould grew up in Toronto at the same time that Canadian theorists Marshall McLuhan, Northrop Frye, and Harold Innis were making their mark on communications studies.)^[82][83] Anthologies of his writing and letters have been published.^{[fn 22]} Library and Archives Canada retains a significant portion of Gould's work called the The Glenn Gould Archive.

One of Gould's performances of the Prelude and Fugue in C major from Book II of The Well-Tempered Clavier was chosen for inclusion on the NASA Voyager Golden Record by a committee headed by Carl Sagan. The disc of recordings was placed on the spacecraft Voyager 1, which is now approaching interstellar space and is the farthest human-made object from Earth.^[84]

Gould is a popular subject of biography and even critical analysis. Philosophers such as Giorgio Agamben and Mark Kingwell have interpreted Gould's life and ideas.^[85] References to Gould and his work are plentiful in poetry, fiction, and the visual arts.^[86] For example, François Girard's Genie Award winning 1993 film, Thirty Two Short Films About Glenn Gould.

The Glenn Gould Studio at the Canadian Broadcasting Centre in Toronto was named after him.

Glenn Gould Foundation[link]

In Toronto in 1983, The Glenn Gould Foundation was established to honour Gould and preserve his memory. The Foundation's mission "is to extend awareness of the legacy of Glenn Gould as an extraordinary musician, communicator, and Canadian, and to advance his visionary and innovative ideas into the future." Among other activities, the foundation awards the Glenn Gould Prize every three years^[87] to "an individual who has earned international recognition as the result of a highly exceptional contribution to music and its communication, through the use of any communications technologies." The prize consists of $50,000 for an original work by a Canadian artist.

Glenn Gould School[link]

The Royal Conservatory of Music in Toronto decided to adopt the name The Glenn Gould School in 1997, after its most famous alumnus.^[88]

Glenn Gould: The Sounds of Genius[link]

To commemorate what would have been Gould's 75th birthday, the Canadian Museum of Civilization held an exhibition titled Glenn Gould: The Sounds of Genius. The multimedia exhibit was held in conjunction with Library and Archives Canada.^[89] The exhibition opened September 28, 2007^[90] and looked at five aspects of Gould: "The person," "The musician," "The broadcast personality and producer," "The writer and theorist, composer and conductor," and "The Sounds of Genius".^[91] Curator Sam Cronk said "The primary purpose of the exhibition is to remind Canadians of the many facets of Gould’s musical genius."^[90] John F. Burns of the The New York Times reported, in an interview with Herbert Kallmann, that the exhibit will omit many of Gould's eccentricities in favour of highlighting Gould’s talent. Of the numerous documents, there are essays, scripts, and music scores. The scores on display were used for some of his most important recordings, marked only for breaks between takes.^[58] Peter Goddard of the Toronto Star says that the exhibit will give patrons a feeling of what it was like at Gould's home: "The cramped space conveys a sense of what his St. Clair Ave. apartment might have felt like, with his piano at the very centre of things, along with his low piano chair made by his father."^[92]

Awards[link]

Glenn Gould received many honours before and after his death, although he personally claimed to despise competition in music.

Juno Awards[link]

The Juno Awards are presented annually by the Canadian Academy of Recording Arts and Sciences. Gould won three awards out of his six nominations. However he only personally received one Juno. In 1983, he was posthumously inducted into the Canadian Music Hall of Fame.^[93]

Grammy Awards[link]

The Grammys are awarded annually by the National Academy of Recording Arts and Sciences. Gould won four awards but personally only received one.^[94] In 1983, he was honoured posthumously, being inducted into the Grammy Hall of Fame for his 1955 recording (released in 1956) Bach: The Goldberg Variations.^[95]

See also[link]

	Canada portal
	Toronto portal
32x28px	Music of Canada portal
	Classical music portal

• Glenn Gould Prize
• Music of Canada
• List of Canadian composers
• List of compositions by Glenn Gould
• List of recordings by Glenn Gould

References[link]

Footnotes

Citations

Bibliography

Multimedia sources

Further reading[link]

External links[link]

Wikiquote has a collection of quotations related to: Glenn Gould

• Media related to Glenn Gould at Wikimedia Commons
• Glenn Gould Official website
• Glenn Gould recordings owned by Sony Music
• The Glenn Gould Foundation including the GlennGould Magazine
• The Glenn Gould Archive from Library and Archives Canada
• Glenn Gould: Variations on an Artist from the CBC Digital Archives
• Glenn Gould at Société Radio-Canada from the CBC French language Digital Archives
• Glenn Gould pictures and writings by film director Bruno Monsaingeon
• Glenn Gould collected news and commentary at The New York Times
• Works by or about Glenn Gould in libraries (WorldCat catalog)

Video

• Bach & Friends: Glenn Gould (2010) from director Michael Lawrence
• Genius Within: The Inner Life of Glenn Gould (2010) from co-directors Peter Raymont and Michèle Hozer
• Glenn Gould on Myspace

Anton Webern in Stettin, October 1912

 Anton Webern (help·info) (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.

Biography[link]

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.^[1] 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.^[2] 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."^[3] 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.^[4]

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 for his death was army cook Pfc. Raymond Norwood Bell of North Carolina who was overcome by remorse and died of alcoholism in 1955.^[5]

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.^[6]

Webern's music[link]

	"Sehr langsam" noicon Sample of "Sehr langsam" from String Trio Op. 20, an example of the twelve-tone technique, which is a type of serialism.
Problems listening to this file? See media help.

Doomed to a total failure in a deaf world of ignorance and indifference he inexorably kept on cutting out his diamonds, his dazzling diamonds, the mines of which he had such a perfect knowledge.^[7]

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.^[8] However, his influence on later composers, and on post-WWII avant garde music developments in Europe and America were immense, particularly in Paris under the influence of the Webern disciple, Rene Leibowitz and at Darmstadt; and concurrently, in New York City under the influences of another Webern disciple, the composer, Stefan Wolpe and the French composer-conductor, Jacques-Louis Monod. His mature works, using Arnold Schoenberg's twelve-tone technique, have a textural clarity and emotional coolness which greatly influenced composers at Darmstadt, such as Pierre Boulez, Luigi Nono, and Karlheinz Stockhausen.

File:Webern Variations op. 30 tone row.png

The symmetry of Webern's tone row from Variations, Op. 30  Play (help·info), is apparent from the equivalent, P1=IR1 and R12=I12, and thus reduced number of row forms, two, P and R, plus transpositions. Consisting of three related tetrachords: a and c consisting of two minor seconds and one minor third and b consisting of two minor thirds and one minor second. Notes 4-7 and 6-9 also consist of two minor seconds and one minor third. "The entire series thus consists of two intervals and has the greatest possible unity of series form, interval, motif, and chords."^[9]

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 Volkstexte op. 17 (1925) he used Schoenberg's twelve tone technique for the first time, and all his subsequent works used this technique. The String Trio op. 20 (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[link]

• Webern conducts "Berg - Violin Concerto" ASIN B000003XHN
• Webern conducts his arrangement of Schubert's German Dances ASIN B000002707

List of works[link]

Works with opus numbers[link]

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.

• 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 (1924–25)
• 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 Nine 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)

Works without opus numbers[link]

• 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 Richard 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)

Arrangements[link]

• "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)

See also[link]

• List of Austrians in music
• List of Austrians

References[link]

Bibliography[link]

• 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 0-521-39088-5 (cloth) ISBN 0-521-54796-2 (pbk. ed., 2006)
• Bailey, Kathryn (ed.). 1996. Webern Studies. Cambridge and New York: Cambridge University Press. ISBN 0-521-47526-0
• Bailey, Kathryn. 1998. The Life of Webern Cambridge and New York: Cambridge University Press. ISBN 0-521-57336-X (cloth) ISBN 0-521-57566-4 (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 0-300-07352-6
• Galliari, Alain. 2007. "Anton von Webern". Paris: Fayard. ISBN 978-2-213-63457-9
• Hayes, Malcolm. 1995. Anton von Webern. London: Phaidon Press. ISBN 0-7148-3157-3
• 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 90-5356-765-8. 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 90-313-0244-9.
• Mead, Andrew. 1993. "Webern, Tradition, and 'Composing with Twelve Tones'". Music Theory Spectrum 15, no. 2:173–204. doi:10.1525
• 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 0-575-02436-4
• Noller, Joachim. 1990. "Bedeutungsstrukturen: zu Anton Weberns 'alpinen' Programmen." Neue Zeitschrift für Musik151, 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.

Further reading[link]

• Tsang, Lee (2002). "The Atonal Music of Anton Webern (1998) by Allen Forte". Music Analysis, 21/iii (October), 417–427.

Software[link]

• 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.

External links[link]

Wikiquote has a collection of quotations related to: Anton Webern

• 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
• Free scores by Anton Webern at the International Music Score Library Project
• Free scores by Anton Webern in the Choral Public Domain Library (ChoralWiki)
• (French) A biography of Anton Webern, from IRCAM's website.
• Excerpts from sound archives of Webern's works.
• Webern's orchestration of Bach's Ricercar a 6 - listening

Eduard Steuermann at the 12th Internationale Ferienkurse für neue Musik, Darmstadt 1957

Eduard Steuermann (June 18, 1892 in Sambor, Austro-Hungarian Empire (now part of Ukraine) – November 11, 1964 in New York City) was an Austrian (and later American) pianist and composer. The actress Salka Viertel was his sister. Steuermann married Clara Silvers, a pianist and noted music librarian, in 1949.^[1]

Steuermann studied piano with Vilém Kurz at the Lviv Conservatory and with Ferruccio Busoni in Berlin. He studied composition with Engelbert Humperdinck and Arnold Schoenberg,^[1] played the piano part in the first performance of Schoenberg's Pierrot Lunaire, and premiered his Piano Concerto. He continued his association with Schoenberg as a pianist for the composer's Society for Private Musical Performances in Vienna, and made an arrangement for piano trio of Schoenberg's Verklärte Nacht. Additionally, he performed in the radio premiere of Schoenberg's "Ode to Napoleon Bonaparte" with the New York Philharmonic Symphony Orchestra under Artur Rodzinski on November 26, 1944. In 1952 he was awarded the Schoenberg Medal by the International Society for Contemporary Music. He also taught at the Internationale Ferienkurse für Neue Musik at Darmstadt.

In the United States, where he emigrated in 1938,^[1] he was famed for his Beethoven recitals of the 1950s and was a distinguished teacher, teaching at the Juilliard School from 1952 to 1964.^[1] In America he was known as Edward Steuermann. Among the prominent performers who studied with Steuermann are Alfred Brendel, Jakob Gimpel, Moura Lympany, Avraham Sternklar and Russell Sherman.

In 1989, The University of Nebraska Press published a collection of Steuermann's writings entitled, The Not Quite Innocent Bystander: Writings of Edward Steuermann. The book was co-edited by Clara Steuermann, David H. Porter and Gunther Schuller.

Notes[link]

1. ^ ^{a b c d} Edward and Clara Steuermann Collection (186 KB, 36 pages), Music Division, Library of Congress