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Variations op. 27
7 上級

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Anton Webern

Together with Schönberg and Berg, he formed the Second Viennese School. He was Schönberg’s first pupil. His strict application of the twelve-tone technique made him a model for the Darmstadt School after 1950. Aside from 31 works given opus numbers, he created many others. His compositional method is informed by the most extreme reduction and transparency of setting.

1883Born in Vienna on December 3. First piano lessons at age five from his mother; from 1894, lessons in piano, cello, and music theory with Edwin Komauer.
1902–06Study of musicology and art history at the University of Vienna, writing a thesis on the second part of H. Isaac’s Choralis Constantinus.
1904–08Pupil of Schönberg.
1908–09Songs, Opp. 3 and 4, after poems by Stefan George: transition to atonality.
from 1908Appointments as music director at theaters (e.g. in Prague), from which he resigns after a short while.
1911He follows Schönberg to Berlin.
1911/13Six Bagatelles for String Quartet, Op. 9; extremely brief, reduced, and concentrated compositions.
from 1921Choir director of various choral societies in Vienna.
1922–36He pursues an international career as conductor (Berlin, Frankfurt am Main, Munich, London).
1922–27Transition to twelve-tone technique in his vocal works “Five Sacred Songs,” Op. 15; “Five Canons,” Op. 16; “Three Traditional Rhymes,” Op. 17; “Three Songs,” Op. 18; through “Two Songs,” Op. 19.
1926He meets the poetess Hildegard Jone, whose lyrics, conforming to his own ideas, he employs henceforth (e.g. choral work “Das Augenlicht,” Op. 26, in 1935).
1926/27String Trio, Op. 20: first twelve-tone composition.
1927–28Director of the Workers’ Symphony Orchestra. Symphony, Op. 21, with a thoroughly structured tone row corresponding to the concept of the composition.
1936–38String Quartet, Op. 28: attempt at mediating between sonata and fugue.
1945He is shot and killed in Mittersill on September 15.

© 2003, 2010 Philipp Reclam jun. GmbH & Co. KG, Stuttgart

Cette oeuvre dodécaphonique en trois mouvements, alliant binaire et ternaire, se présente avec une mise en page claire et aérée, mettant en évidence les structures symétriques du morceau.

Pianiste, 2017

Ulrich Scheidelers mit einem ausführlichen Vorwort (dreisprachig) und einem nicht weniger ausführlichen Kritischen Bericht (zweisprachig) ausgestattete Urtextausgabe bietet zweifellos eine solide Grundlage für die Einstudierung von Weberns Variationen op. 27, die einem auch 80 Jahre nach ihrer Entstehung so vorkommen, als kämen sie von einem fremden Planeten.

Piano News, 2017

Henle's Urtext is uitstekend verzorgd en voorzien van voorwoord, leest goed en slaat prettig open.

Pianowereld, 2016

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