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	Anton Webern - Wikipedia, the free encyclopedia (Site not responding. Last check: 2007-11-07)
		Webern was born in Vienna, Austria, as Anton Friedrich Wilhelm von Webern.
		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.
		Webern's tone rows are often very intricately arranged such that within each twelve note row, the pitches are arranged into four groups of three which are variations on each other, which creates invariance.
	en.wikipedia.org /wiki/Anton_Webern (1182 words)

	Anton Webern: biography and encyclopedia article (Site not responding. Last check: 2007-11-07)
		Webern's music was denounced as "cultural Bolshevism" when the Nazi Party (The political party founded in Germany in 1919 and brought to power by Hitler in 1933) seized power in Austria in 1938.
		Webern was not a prolific composer; just thirty-one of his compositions were published in his lifetime, and when Pierre Boulez (French composer of serial music (born in 1925)) oversaw a project to record all of his compositions, including those without opus numbers, the results fit on just six CDs.
		Webern's tone row (additional info and facts about tone row) s are often very intricately arranged such that within each twelve note row, the pitches are arranged into four groups of three which are variations on each other, which creates invariance (The quality of being resistant to variation).
	www.absoluteastronomy.com /encyclopedia/a/an/anton_webern.htm (1588 words)

	Encyclopedia: Anton Webern (Site not responding. Last check: 2007-11-07)
		Durch seine Mutter erhielt Anton Webern frÃ¼h Klavierunterricht, spÃ¤ter erteilte ihm Edwin Komauer Privatunterricht in Kompositionstheorie, auÃerdem erlernte Webern das Violoncello-Spiel.
		Weberns Interesse fÃ¼r Alte Musik sollte spÃ¤ter auch seinen eigenen Kompositionsstil beeinflussen.
		Anton Webern (December 3, 1883 â“ September 15, 1945) was a composer of classical music and a member of the so called Second Viennese School.
	www.nationmaster.com /encyclopedia/Anton-Webern (473 words)

	Why give a day to the mad scientist of music?
		Webern wrote in tight little aphorisms, applying Arnold Schoenberg's 12-note method of composition with fanatical rigour to such random variables as rhythm, intervals and dynamic levels of loud and soft.
		In the modernist trinity with Schoenberg and Berg, Webern was the fundamentalist, the doctrinaire apostle who would never bend a rule or borrow a tune for the sake of beauty but who, in rigorous application of the law, achieved the clarity of morning air and mountain streams.
		This quality alone would rank Webern among the immortals but there is another rare distinction, and that can be heard only when the works are arrayed, soup to sweet, as they will be next Thursday on www.bbc.co.uk/radio3.
	www.scena.org /columns/lebrecht/050907-NL-webern.html (1094 words)

	Anton Webern (Site not responding. Last check: 2007-11-07)
		This is perhaps truest of Anton Webern, who began his musical career as a doctoral student in musicology, writing a dissertation on the music of Heinrich Isaac (c.
		Webern began his studies with Schoenberg at the same time he was completing his studies in musicology (1904–1908).
		Webern took two principal elements of the style, brevity and the focus on individual sounds, to their extremes.
	www.wwnorton.com /classical/composers/webern.htm (480 words)

	The Musical Times: Anton Webern 1885-1945 (Site not responding. Last check: 2007-11-07)
		Webern’s melodies almost invariably embrace the entire compass of the voice or the instruments he employs.
		Webern was Schönberg’s pupil and was, so to speak, in his study when the master abandoned the traditional key system.
		Anton von Webern, as his name originally was, came from a family of Austrian civil servants.
	www.musicaltimes.co.uk /archive/obits/194601webern.html (1208 words)

	Find A Grave Cemetery Records- Anton Webern (Site not responding. Last check: 2007-11-07)
		Webern's compositions were never much appreciated in his lifetime, and he was forced to earn his living by private lessons, conducting and arranging.
		When the war ended, Webern looked forward to the possibility of composing again, but he was shot and killed by an American soldier as he was standing, smoking a cigarette on the porch of his home in Mittersill, near Salzburg.
		All told, Webern left only about three hours' worth of compositions, but he is considered one of the seminal figures of 20th-century music.
	www.findagrave.com /cgi-bin/fg.cgi?page=gr&GRid=9362572&pt=Anton+Webern (152 words)

	The Glenn Gould Archive
		Of the three pre-eminent masters of modern Viennese music, Webern stands alone in that he seems to have been born to the system, to have lacked his natural element until he adopted it, and to have established its devices as the rhetoric at the base of his musical consciousness.
		Webern began to use the twelve-tone technique consistently after 1925 and, subsequently the solidity and assurance which were absent in many of the works of his transitional period, are felt in the more forceful and extended treatment, of his ideas.
		But Webern's utilization of it, not as punctuation, but as an integral part of the phrase gives to his melodic delineation the effect of a diagram in alternating patches of fl and white.
	www.uv.es /%7Ecalaforr/Webern/gould.htm (2708 words)

	Stefan George and Anton Webern
		Significantly, this choir, Webern's step into the uncharted waters of the new school, is a setting of George's "Entflieht auf leichten Kähnen." In fact, both Webern's transition to atonality and, a few years later, to twelve-tone music, are marked by an abundance of text settings, the majority of which are poems by Stefan George.
		Webern's later correspondence with Hildegard Jone, whose texts he began to set in 1926, offer insights into what difficulties he faced during the earlier groundbreaking years, and reveal how important a role the text played in his choice of form and structure.
		Webern was no stranger to this fervor: the young composer was clearly struggling between his early training in the late Romantic tradition and the modernist calls of the new musical directions.
	www.nthuleen.com /papers/Mus928george.html (2286 words)

	The Music Library - Symmetrical Harmonic Progressions in the 12-tone music of Anton Webern.
		It is true, Webern’s music is credited with inspiring a whole generation of younger composers after the last World War, and so his right to some sort of place in the history of music is not disputed.
		Webern, therefore, invents a seemingly non-symmetrical melody to superimpose upon this pre-established background, or accompaniment, of symmetrical chords.
		In Webern, in the Saxophone Quartet, one may sense a new level or degree of fulfillment for this desire: one that perhaps offers a rationalization of the melodic and harmonic spheres fully on a par with the classical system of tonality.
	www.wholarts.com /music/ed/WebernQ.htm (6235 words)

	BBC - Radio 3 - Webern Day
		Webern's works were placed into Radio 3's regular schedule and introduced by Radio 3 presenters, along with guests including Webern biographers Malcolm Hayes and Katherine Bailey as well as composer Julian Johnson.
		Webern Day continued into the evening, when Andrew McGregor and guest panellists discussed his life and work, focussing on the music he wrote between 1924 and his untimely death in 1945.
		In the aftermath of the Second World War, on the evening of 15 th September 1945, Anton Webern stepped outside his house for a cigar and was shot dead accidentally by a cook in the US military in mysterious circumstances.
	www.bbc.co.uk /radio3/classical/webernday.shtml (272 words)

	Anton Webern by David Wright MusicWeb(UK) (Site not responding. Last check: 2007-11-07)
		Webern was man of his time and the remark of Edgar Varese is relevant, "It is not that composers are ahead of their time; it is that listeners to music are, at last, fifty years behind the times."
		Anton Webern was born in Vienna in 1883.
		Webern studied with Hans Pfitzner but felt that he was somewhat anachronistic in his approach and so from 1904 to 1908 he studied with Arnold Schoenberg.
	www.musicweb-international.com /classrev/2003/Jan03/webern_wright.htm (2689 words)

	[No title] (Site not responding. Last check: 2007-11-07)
		The War was a tremendous tragedy for all of Europe, and Anton Webern was not exempted.
		Webern's nerves were so badly shaken by this tragedy that he was unable to compose.
		Webern's great reverence for God and religion — which even the war and the death of his only son could not shake — can be seen most acutely in the texts of his sacred works.
	www.chez.com /craton/musique/webern/webern.htm (849 words)

	Austria. Europe with a Difference
		Webern, who was a student of Arnold Schönberg, is considered the father of ”serial”, systematically deconstructed music.
		Webern composed cantatas, lieder, choral music, pieces for piano, as well as orchestral and chamber music, and also held a series of lectures entitled ”The Path to New Music”.
		On September 15, 1945, Anton von Webern was shot and killed by mistake in Mittersill in Salzburg province by a soldier of the American occupation forces in a raid intended to capture his son-in-law, who was involved in cigarette smuggling.
	cms.austria.info /kultur_detail...2.html?_h=kultur&id=308794&_hm=301318&_um=&_b=c2&_ks=1 (166 words)

	Essentials of Music - Composers
		This is perhaps truest of Anton Webern, who began his musical career as a doctoral student in musicology, writing a dissertation on the music of Heinrich Isaac (c.1450-1517).
		Webern began his studies with Arnold Schoenberg at the same time he was completing his studies in musicology (1904-1908).
		Like his fellow student Alban Berg, Webern quickly transformed his style from the rich language of post-romanticism to the more sparing world of atonality and twelve-tone writing.
	www.essentialsofmusic.com /composer/webern.html (520 words)

	ANTON WEBERN
		In his 12 tone scene, non-tonality was possible, no longer did music have to sound nice, or be a certain length, etc, and a whole new world opened up for me. Of course I had to unlearn harmony which even today is sometimes hard to do.
		Anton Webern is the father in my opinion of modern advante guarde music and his compositions were way ahead of their time.
		Webern also learned to play the cello and participated in the local orchestra.
	www.geocities.com /lasaltersjr/antonwebern.htm (436 words)

	Anton von Webern (Site not responding. Last check: 2007-11-07)
		Meanwhile he had continued his atonal style, mostly in songs: the relatively few instrumental pieces of 1909-14 had grown ever shorter, ostensibly because of the lack of any means of formal extension in a language without key or theme.
		However, Webern soon recognized that the 12-note principle sanctioned a severity and virtuosity of polyphony that he could compare with that of the Renaissance masters he had studied.
		His use of the series as a source of similar motifs, especially in instrumental works, merely emphasizes the almost geometrical perfection of this music, for which he found literary stimulus in Goethe and, more nearly, in the poetry of his friend and neighbour Hildegard Jone, whose words he set exclusively during his last dozen years.
	w3.rz-berlin.mpg.de /cmp/webern.html (343 words)

	MTO 4.2: Alpern, Review, Webern and the Lyric Impulse
		Challenging his conventional image as a "cerebral master of control," she paints an intimate portrait of a lyrical composer of Lieder in the line of Schubert and Wolf, whose intellectual concern for logical coherence is tempered by an intuitive appreciation of the expressive potential of ambiguity.
		Shreffler condemns Webern's exclusive "association with a cerebral, detached aesthetic" as a historical bias fostered by the "anti-Romantic agenda of the post-war serialists," an overreaction against 19th-century sentimentalism, and the "Darmstadt project's" reification of systematic relationships in all music--particularly St. Anton's (p.3).
		Webern's atonality is not an embryonic, inherently flawed stage of unsystematic musical chromaticism, eventually shedding its structural deficiencies and blossoming into the rational totalization of serialism.
	societymusictheory.org /mto/issues/mto.98.4.2/mto.98.4.2.alpern.html (6682 words)

	Additional Reading (from Anton von Webern) -- Encyclopædia Britannica (Site not responding. Last check: 2007-11-07)
		Hans Moldenhauer and Rosaleen Moldenhauer, Anton von Webern: Chronicle of His Life and Work (1978), comprehensive biography; Hans Moldenhauer, The Death of Anton Webern: A Drama in Documents, with a foreword by Igor Stravinsky (1961), establishing the exact circumstances surrounding the tragedy; Walter Kolneder, Anton Webern: An Introduction to His Works, trans.
		The Russian musician Anton Rubinstein is known as one of the greatest pianists of the 19th century.
		The Austrian composer Anton Bruckner is now known primarily for his monumental ten symphonies, but they did not begin to receive universal acceptance until after World War I. His sacred music represents the culmination of the great tradition of Austrian church music.
	www.britannica.com /eb/article-7824?tocId=7824 (744 words)

	OhioLINK ETD: YORKE, SARAH
		This thesis approaches the works of Anton Webern's middle period, specifically Opera 15-18, by discussing the influence of text upon musical factors: a theoretical discourse on musical developments is not intended.
		By linking Webern's preoccupation with nature and religious elements to his compositional inspiration, a case is made for the predominant position of these seemingly "kitschy" texts in Webern's compositional process.
		Anton Weberns lieder; folktexts as lieder; Opera 15-18 of Anton Webern
	www.ohiolink.edu /etd/view.cgi?ucin1063120070 (382 words)

	[No title] (Site not responding. Last check: 2007-11-07)
		Webern was born in Vienna, Austria on December 3, 1883.
		Webern began conducting, despite his lack of training in the field, and soon developed a successful career of it.
		Webern's later works include the Piano Quintet which is a sonata in c major in the style of Brahms.
	cctr.umkc.edu /user/aderington/webern.html (777 words)

	A Consideration of Anton Webern - Ressources - Le Fonds d'archives Glenn-Gould (Site not responding. Last check: 2007-11-07)
		A Consideration of Anton Webern - Ressources - Le Fonds d'archives Glenn-Gould
		No matter how radical may be the stylistic divergencies of Berg or Schoenberg, their architectural designs, (the time element in their music) may, with few exceptions, be classed among the predetermined patterns of rococo and early romantic art.
		Moreover, the structural pliancy and lucidity which results bears witness that Webern is the rare example of a composer who has made the twelve-tone system serve to magnify the philosophy of aesthetics which all great artists comprehend -- that sorcery lies within the very idea of creation.
	www.collectionscanada.ca /glenngould/m23-502.5-f.html (2738 words)

	Anton Webern (Site not responding. Last check: 2007-11-07)
		Webern, one of the pioneers (with Schoenberg and Berg) of serialism, was educated in Vienna, where he earned a doctoral degree in musicology (on the music of the Renaissance composer Heinrich Isaac) simultaneous with his composition studies with Schoenberg.
		(His complete work fits on three CDs.) Webern was particularly interested in symmetrical organizations of musical form (the palindrome, for example, where a piece pivots at the center and turns back on itself) and in serial arrangements of rhythm, dynamics, and modes of attack.
		Just after the war, the Weberns traveled to visit their daughter near Salzburg, where he was shot by an American soldier when he stepped outside to smoke.
	cwx.prenhall.com /bookbind/pubbooks/masterworks/medialib/composers/webern_profile.html (193 words)

	[No title]
		It is testimony to Anton Webern's stature that the contemporary erosion of structural formalism has not witnessed any concomitant decline of interest in his music.
		Shreffler condemns Webern's exclusive "association with a cerebral, detached aesthetic" as a historical bias fostered by the "anti-Romantic agenda of the post-war serialists," an overreaction against 19th-century sentimentalism, and the "Darmstadt project's" reification of systematic relationships in all music--particularly St. Anton's (p.3).(1) ================================== 1.
		Shreffler discerns that Webern's final serial period represents a synthesis between the disjunction of his early period and the lyricism of his middle period, culminating in a hybrid "disjunct lyricism." He eventually blended the aphoristic, verticalized pointillism of the instrumental miniatures with the fluid, horizontal counterpoint of his songs.
	www.societymusictheory.org:16080 /mto/issues/mto.98.4.2/mto.98.4.2.alpern.rev (6294 words)

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